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| deathplace          = Urbino, Italy (?)
 
| deathplace          = Urbino, Italy (?)
 
| resting_place        =  
 
| resting_place        =  
| occupation          = [[occupation::Fencing master| ]][[Fencing master]]
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| occupation          = [[Fencing master]]{{#set: occupation=Fencing master}}
| language            = {{plainlist | [[language::Middle Italian]] | [[language::Renaissance Latin]] }}
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| language            = {{plainlist
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| [[language::Middle Italian]]
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| [[language::Renaissance Latin]]
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}}
 
| nationality          = Pisa, Italy
 
| nationality          = Pisa, Italy
 
| ethnicity            = Ligurian
 
| ethnicity            = Ligurian
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| notableworks        = ''De Arte Gladiatoria Dimicandi''
 
| notableworks        = ''De Arte Gladiatoria Dimicandi''
 
| archetype            =  
 
| archetype            =  
| manuscript(s)        = {{plainlist | [[De Arte Gladiatoria Dimicandi (Cod.1324)|Codex 1324]] (1482-1487) | Vatican Archives MS (1480s) }}
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| manuscript(s)        = {{plainlist
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| [[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|MS Vitt. Em. 1324]] (1482-1487)
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| Vatican Archives MS (1480s)
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}}
 
| principal manuscript(s)=
 
| principal manuscript(s)=
 
| first printed edition= Porzio and Mele, 2002
 
| first printed edition= Porzio and Mele, 2002
| wiktenauer compilation by=[[Michael Chidester]]
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| website              =  
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| translations        = {{plainlist
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| {{english translation|File:The Knightly Art of Combat of Filippo Vadi.pdf|local=1}}
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| {{english translation|http://www.thearma.org/Manuals/Vadi.htm}}
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}}
 
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'''Philippo di Vadi Pisano''' was a [[century::15th century]] [[nationality::Italian]] [[fencing master]]. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.<ref>For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "[http://hemaalliance.com/discussion/viewtopic.php?p=29181#p29181 Interesting information on the Vadi family (Philippo Vadi)]". [[HEMA Alliance|HEMA Alliance Forum]]. 06 June 2012. Retrieved 09 October 2012.</ref> Some time after this, Vadi composed a treatise on fencing entitled ''[[De Arte Gladiatoria Dimicandi (Cod.1324)|De Arte Gladiatoria Dimicandi]]'' ("On the Art of Swordsmanship"); it was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,<ref name=Vadi>'''Vadi, Philippo di'''. ''De Arte Gladiatoria Dimicandi'' [manuscript]. [[De Arte Gladiatoria Dimicandi (Cod.1324)|Codex 1324]]. Rome, Italy: [[Biblioteca Nazionale Centrale di Roma]], 1480s.</ref> and gifted to him between 1482 and 1487,<ref name=Rubboli>[[Marco Rubboli|Rubboli, Marco]] and [[Luca Cesari|Cesari, Luca]]. ''[[:File:The_Knightly_Art_of_Combat_of_Filippo_Vadi.pdf‎|The Knightly Art of Combat of Filippo Vadi]]''. Document circulated online.</ref> but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.
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'''Philippo di Vadi Pisano''' was a [[century::15th century]] [[nationality::Italian]] [[fencing master]]. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.<ref>For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "[http://hemaalliance.com/discussion/viewtopic.php?p=29181#p29181 Interesting information on the Vadi family (Philippo Vadi)]". [[HEMA Alliance|HEMA Alliance Forum]]. 06 June 2012. Retrieved 09 October 2012.</ref> Some time after this, Vadi composed a treatise on fencing entitled ''[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|De Arte Gladiatoria Dimicandi]]'' ("On the Art of Swordsmanship"), which currently exists in at least two manuscript copies. It was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,<ref name=Vadi>'''Vadi, Philippo di'''. ''De Arte Gladiatoria Dimicandi'' [manuscript]. [[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|MS Vitt. Em. 1324]]. Rome, Italy: [[Biblioteca Nazionale Centrale di Roma]], 1480s.</ref> and gifted to him between 1482 and 1487,<ref name=Rubboli>[[Marco Rubboli|Rubboli, Marco]] and [[Luca Cesari|Cesari, Luca]]. ''[[:File:The_Knightly_Art_of_Combat_of_Filippo_Vadi.pdf‎|The Knightly Art of Combat of Filippo Vadi]]''. Document circulated online.</ref> but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.
  
 
Vadi was probably an initiate of the tradition of [[Fiore de’i Liberi]], as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise ''Fior di Battaglia'', Vadi would have had ample opportunity to study his writings.
 
Vadi was probably an initiate of the tradition of [[Fiore de’i Liberi]], as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise ''Fior di Battaglia'', Vadi would have had ample opportunity to study his writings.
  
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{{TOC limit|3}}
 
== Treatise ==
 
== Treatise ==
  
{{hidden begin
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{{master begin
  | title     = <span style="font-size:130%;">Preface</span>
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  | title = Preface
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{| class="wikitable floated master"
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{| class="master"
 
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! id="thin" | <poem>Images</poem>
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! <p>Illustrations</p>
! <poem>{{rating|B}}<br/>by [[Guy Windsor]]</poem>
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! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
! <poem>[[De Arte Gladiatoria Dimicandi (Cod.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</poem>
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! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="4" | [[File:Cod.1324 Iv.jpg|200px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_Iv.jpg]]
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| rowspan="5" | [[File:Cod.1324 IIv.png|300px|center]]
 
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|  
TO MY MOST ILLUSTRIOUS PRINCEGUIDO DI MONTEFELTRO DUKE OF URBINO
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| {{section|Page:Cod.1324 IIv.jpg|1|lbl=IIv}}
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| <p>'''To my most illustrious Prince Guido di Montefeltro Duke of Urbino'''</p>
 
| {{section|Page:Cod.1324 01r.jpg|1r.1}}
 
| {{section|Page:Cod.1324 01r.jpg|1r.1}}
  
 
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| <p>This little book I dedicate to you, most honourable prince Guido,<br/>And to whom I devote in equal measure my intellect,<br/>Since you have paid close attention to the Muses in the sporting jurisdiction of Mars.<br/>The Muses and Mars are wont to show favour to princes.<br/>Phoebus and the Muses especially give honour to you here.<br/>Soon also Mars and Minerva pay you homage.<ref>The translation of these lines was kindly done by Alan Cross, personal correspondence, 28 September 2016.</ref></p>
<poem>I offer this little book to you, great Prince,
 
To which Muse my mind is devoted to,
 
When giving up song to study
 
the law of the principal martial games,
 
Mars accustomed to kiss especially Phoebus (Apollo):
 
The muse next decorates Mars, and worships Minerva.</poem>
 
 
| {{section|Page:Cod.1324 01r.jpg|1r.2}}
 
| {{section|Page:Cod.1324 01r.jpg|1r.2}}
  
 
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| <p>'''Philippo Vadi offers this book on the Art of fencing in earnest'''<ref>The title that the manuscript is known by comes from this line of the book: ''de arte gladiatoria dimicandi''. ''Dimicare'' means to fight in earnest against your enemies; ''l’arte gladiatoria'' is the art of fencing. Together, the sense is “the art of fencing in earnest against your enemies”, as opposed to fencing for fun, exercise or display.</ref>''' to the illustrious Prince Guido di Montefeltro Duke of Urbino.'''</p>
PHILIPO VADI OFFERS THIS BOOK ON THE ART OF GLADIATORIAL COMBAT TO THE ILLUSTRIOUS PRINCE GUIDO DI MONTEFELTRO, DUKE OF URBINO.
 
 
| {{section|Page:Cod.1324 01r.jpg|1r.3}}
 
| {{section|Page:Cod.1324 01r.jpg|1r.3}}
 
   
 
   
 
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| <p><ref>I am indebted to both Prof Alessandra Petrina and Tom Leoni for their suggestions on improving this section.</ref>Just as my earnest mind, devoid of all cowardice and spurred by an outpouring of natural desire in my earliest thriving years, moved me towards warlike deeds and matters; so did it move me, as time progressed and as I grew in strength and knowledge, to learn more of those warlike deeds, matters, styles and skills through hard work, such as how to play with the sword, lance, dagger and pollax.</p>
 
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|  
Having been drawn to warlike acts and things by my earnest spirit, devoid of all cowardice, since my firstthriving years, as time progressed I grew in strength and knowledge I went, through hard work, to learn something of the art, its style and skills, regarding the aforementioned warlike acts and things. Such as how to play with the sword, lance, dagger and axe.
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{{section|Page:Cod.1324 01r.jpg|1r.4|p=1}} {{section|Page:Cod.1324 01v.jpg|1v.1|p=1}}
| {{section|Page:Cod.1324 01r.jpg|1r.4}}{{section|Page:Cod.1324 01v.jpg|1v.1}}
 
  
 
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| <p>Of these things, through the guidance of almighty God, I acquired a good deal of knowledge and this through the practical experience and instruction of many teachers from various different countries, all masters and utterly proficient and knowledgeable in this art.</p>
Of these things, through the guidance of God I acquired some good advice and this through the practical experience and theory of many teachers from various different countries, all complete masters and perfectly knowledgeable in this art. And not to diminish but instead to increase this doctrine so that it will not perish from my negligence, because from it comes no small help in battles, wars, riots and other warlike tumults:instead it gives all men trained and instructed in this material immediate and unique help: it has been suggested and required that I compile a booklet concerning these things by people I have surpassed in the art, and am more long winded than: adding to this various figures and placing various examples so that any man versed in this material can use if for assaults at arms, and can defend himself intelligently and be advised of all the types and styles.
 
 
| {{section|Page:Cod.1324 01v.jpg|1v.2}}
 
| {{section|Page:Cod.1324 01v.jpg|1v.2}}
  
 
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| <p>And not to diminish but instead to increase this doctrine so that it will not perish from my negligence, because from it comes no small help in battles, wars, riots and other warlike tumults: instead it gives all men trained and instructed in this material immediate and unique help: it has been suggested and required that I compile a booklet concerning these things by people I have surpassed in the art, and am more long winded than: adding to this various figures and placing various examples so that any man versed in this material can use if for assaults at arms, and can defend himself intelligently and be advised of all the types and styles.</p>
So that everyone of a generous spirit will see this, my little work, as a jewel and a treasure, recording it in his inner heart, so in this way this useful art and doctrine will not fall into the hands of uncouth men and those of low-born condition.
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| {{section|Page:Cod.1324 01v.jpg|1v.3}}
| {{section|Page:Cod.1324 01v.jpg|1v.3}}{{section|Page:Cod.1324 02r.jpg|2r.1}}
 
  
 
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|-  
 
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| <p>Therefore, anyone with a generous spirit will see this little work of mine as a jewel and a treasure and will keep it in memory deep within their heart, so that this art and discipline should never fall into the hands of peasants and low-born men.</p>
 
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Because heaven has not made these men in earthly flesh and beyond all cleverness and hard work and bereft of bodily agility, but instead they were made without reason,like animals, just to carry heavy loads and do baseand rustic works.
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{{section|Page:Cod.1324 01v.jpg|1v.4|p=1}} {{section|Page:Cod.1324 02r.jpg|2r.1|p=1}}
| {{section|Page:Cod.1324 02r.jpg|2r.2}}
 
  
 
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| <p>Because Heaven has not made these rough-hewn men, ignorant and beyond all cleverness and diligence and wholly bereft of bodily agility, but instead they were made like animals without reason, just to carry heavy burdens and do base and rustic work; and because I declare them to be in every way alien to this science; everyone of perspicacious intelligence and lively limbs such as courtiers [l.10], scholars, barons, princes, dukes and kings, should on the contrary be welcomed into this noble science according to the principle of the Instituta which states: not only should the Imperial Majesty be honoured with Arms, but it must also be armed with sacred laws.</p>
And so for this reason I tell you that they are in every way alien to this science, and it appears to me that the opposite stands for everyone of perspicacious intelligence and lively limbs such as are courtiers, scholars, barons,princes, Dukes and Kings, who should be invited to this noble science according to the principle of the Instituta which states: not only should Imperial Majesty be honoured in Arms, but also armed with sacred laws.
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| {{section|Page:Cod.1324 02r.jpg|2r.2}}
| {{section|Page:Cod.1324 02r.jpg|2r.3}}
 
  
 
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| <p>Nobody should think that there is anything false or any kind of error in my book, because I have omitted and carved out anything unsure, and included only things that I have seen and tested. Let us begin then to explain our intention, with the aid and grace of the omnipotent God, blessed be His name.</p>
Nobody should think that there is anything false or any kind of error in my book, because I have left outanything doubtful, and included only things that Ihave seen and tested. Let us begin then to explainour intention, with the aid and grace of theomnipotent God whose name will be blessed forever.
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| {{section|Page:Cod.1324 02r.jpg|2r.3}}
| {{section|Page:Cod.1324 02r.jpg|2r.4}}
 
  
 
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|-  
 
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 +
| <p>Some animals, lacking reason, ply their skills naturally without any knowledge. Man, instead, naturally lacks skills and his body lacks weapons. Nature compensates for this deficiency of weapons by giving man his hands, and for his lack of natural skills by offering him the virtues of intelligence and thought. Even if a man were born with some level of skill, he would not be able to acquire the remainder naturally, that is, learn to use all weapons and know each skill. He was therefore not endowed by nature with either skill or weapon. Consequently, among all animals, man needs intelligence and reason, through which art and ingenuity flourish and in which he overtakes and surpasses all other animals. Just so every trained and clever man of good intelligence overtakes and surpasses any other who is stouter and stronger than him.</p>
 
|  
 
|  
And because the various animals, lacking reason,have natural gifts, without any of the knowledge of man (who lacks such natural bodily gifts). So instead of naturally occurring weapons, to make up for the lack of the aforesaid weapons, nature gives man hands. So to those that lack natural weapons she gives the virtue of intelligence and thought. So those that have natural weapons cannot acquire more weapons. So those that lack natural weaponry can better make use of all weapons, natural or otherwise.
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| <p>As the famous saying goes: cleverness overcomes strength. And what is greater still and almost incredible: the wise rules the stars. An art that conquers all, and dominates anyone who would fight you or stand against you, is born from the aforesaid cleverness and other piercing thinking.</p><p>And not only can just one man prevail against another, but also a way and possibility exists for one man to overcome many. Not only do we show the way and the theory of combating the adversary as well as to defend yourself against him, but we also teach methods on how to take the weapon from his hand.</p>
 
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|  
Having then need above all other animals for intelligence and reason, these things flourish, art and intelligence, and not only these two things raise us above the other animals. But every trained and clever man of good intelligence overtakes and surpasses any other that is tougher than him, and more full of force.
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{{section|Page:Cod.1324 02v.jpg|2v.2|p=1}} {{section|Page:Cod.1324 03r.jpg|3r.1|p=1}}
| {{section|Page:Cod.1324 02v.jpg|2v.2}}
 
  
 
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| <p>Oftentimes in these texts, a small person of little strength overcomes, prostrates and throws a big, tough and brave man to the ground; just so, you will see how the humble can overtake the proud, and the unarmed the armed. And many times it happens that someone on foot defeats and conquers someone on horseback.</p>
Just to expand on my previous point. Cleverness overcomes strength. And what is greater still and almost incredible: ''sapiens dominabitur astris''. An art that conquers all, and dominates anyone who wouldfight you or stand against you, is born from the afore said cleverness and other piercing thinking. And not just one man against another, but also a method and the possibility is born for one man to overcome many people. And not only is shown the way and theory of combating the adversary, and to defend yourself against him, but also is taught advice on how to take the weapon from his hand.
 
| {{section|Page:Cod.1324 02v.jpg|2v.3}}{{section|Page:Cod.1324 03r.jpg|3r.1}}
 
 
 
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In these texts there will also be a few words on how a small person of little strength can overcome and throw down a big tough and brave man, and so you will see how the humble can overtake the great and the unarmed the armed. And many times it happens that someone on foot defeats and conquers someone on horseback.
 
 
| {{section|Page:Cod.1324 03r.jpg|3r.2}}
 
| {{section|Page:Cod.1324 03r.jpg|3r.2}}
  
 
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| <p>But because it would be very inconvenient if this noble doctrine were to wilt and die through negligence, I, Philippo di Vadi from Pisa having studied this art ever since my first flourishing years, having travelled to and practiced in many different countries, lands, castles and cities to collect the teachings and examples of many perfect masters of the art, having acquired and obtained (by the Grace of God) a sufficient portion of the art, I have decided to compose this little work, in which I have organised and shown at least the main points of four types of weapon: the lance, sword, dagger and axe.</p>
But because this is a serious matter it would be very inconvenient if this noble doctrine perished and diminished through negligence, I, Philippo di Vadi from Pisa having studied this art since my first flourishingyears having travelled to and practiced in many different countries, lands, castles and cities to collect the teachings and examples of many perfect masters of the art. By the grace of God having acquired and followed a sufficient quantity of the art I have been free to compose this, my little book, in which I have organised and shown at least the main points of four types of weapon: the lance, sword, dagger and axe.
 
 
| {{section|Page:Cod.1324 03r.jpg|3r.3}}
 
| {{section|Page:Cod.1324 03r.jpg|3r.3}}
  
 
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 +
| <p>And in this book, I will describe the rules, the methods and the actions of this art, with examples illustrated with various figures, so anyone new to the art can understand and learn how to fight, and by which trick and ploy he can fend off and beat aside the opponent’s attacks and counters. I have only included in the aforesaid book the good and true doctrine, which I have received from the most perfect masters, with great pains, efforts, and sleepless nights. And I have also included things that I have discovered and often tested.</p>
 
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And in this book written by me I describe a properly organised theory and practice of this art, with examples illustrated with various figures, so anyone new to the art can understand and know how to fight,and by which tricks and vigour he expels, beats aside those of opponents and enemies. I have only included in the aforesaid book the good and true doctrine, which I have received from the most perfect masters, with great pains, and efforts, and vigils. And I have also included things that I have discovered and often tested.
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{{section|Page:Cod.1324 03r.jpg|3r.4|p=1}} {{section|Page:Cod.1324 03v.jpg|3v.1|p=1}}
| {{section|Page:Cod.1324 03r.jpg|3r.4}}{{section|Page:Cod.1324 03v.jpg|3v.1}}
 
  
 
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| <p>Let me remind and admonish all not to be rashly presumptuous, nor to be so bold as to interfere in this art and discipline unless one is high-minded and filled with gallantry. That is because whoever is thick-brained, pusillanimous and cowardly must be banished from such nobility and refinement. To this doctrine should only be invited such men as soldiers,<ref>The word here is ‘sacomani’ (more commonly saccomani), a kind of man at arms who follows the army looking for spoils. I think ‘scavenger’ would not be inaccurate, but clearly Vadi is laying out a hierarchy of martial prowess, with kings at the top, barons in the middle, and men at arms near the bottom. Saccomani is the lowest class of men worthy to learn the art, and so elevated above what comes to mind when we think ‘scavenger’. I’ve used the generic ‘soldier’ here. It is not a normal translation of this term, but it fits this hierarchy better.</ref> men at arms, scholars, barons, lords, dukes, princes and kings of the land, and any of those whose task is to govern the state, and to any of these who defend widows and orphans (both of which are pious and divine works).</p>
Reminding and admonishing all, in plain words, to not dare attempt this art and science unless they are bold,generous and full of courage. Because any coarse, low-born, pusillanimous man must be chased away and blocked from such nobility and refinement. Because to this doctrine should only be invited such men as: men at arms, scholars, barons, lords, dukes, princes and kings of the land and any of those that govern the republic, and to any of these who defend widows and orphans (both of these are pious and divine works).
 
 
| {{section|Page:Cod.1324 03v.jpg|3v.2}}
 
| {{section|Page:Cod.1324 03v.jpg|3v.2}}
  
 
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| class="noline" |  
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| class="noline" | <p>And if this little work of mine finds its way into the hands of anyone versed in the art, and appears to him to have anything redundant or wrong, may it please him to cut, take away or add to it as he pleases. Because in the end I place myself under his correction and judgement.</p>
And if this my little work finds its way into the hands of anyone versed in the art and appears to him to have any superfluous or wrong, please adjust, reduce or add to it as he pleases. Because in the end I place myself under his correction and censure.
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| class="noline" | {{section|Page:Cod.1324 03v.jpg|3v.3}}
| {{section|Page:Cod.1324 03v.jpg|3v.3}}
 
  
 
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|}
{{hidden end}}
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{{master end}}
  
{{hidden begin
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{{master begin
| title     = <span style="font-size:130%;">Introduction</span>
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| title = Introduction
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;
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| width = 90em
| bodystyle = display:block; width:76em;
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}}
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{{master subsection begin
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| title = Chapter 1
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| width = 90em
 
}}
 
}}
{| class="wikitable floated master"
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{| class="master"
 
|-  
 
|-  
! id="thin" | <poem>Images</poem>
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! <p>Illustrations</p>
! <poem>{{rating|B}}<br/>by [[Guy Windsor]]</poem>
+
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
! <poem>[[De Arte Gladiatoria Dimicandi (Cod.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</poem>
+
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
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| class="noline" |  
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| class="noline" | <p>{{red|b=1|Chapter I begins}}</p>
'''Chapter I begins.'''
+
 
<poem>If you wish to truly know
+
<p>If you wish to truly know<br/>
If fencing is an art or science
+
If fencing is an art or science<br/>
Hark my words, I say.</poem>
+
Hark my words, I say.</p>
 +
 
 +
<p>Ponder this, my statement:<br/>
 +
It is a true science and not an art<br/>
 +
And Geometry, which divides and separates,</p>
 +
 
 +
<p>By infinite numbers and measures<br/>
 +
And fills her papers with science,<br/>
 +
Shows this with its pithy eloquence.<ref>I, and Mele and Porzio before me (on page 41), were confounded by the page break between this line and the next. ''E mostrallo con breve eloquenza./La geometria che divide e parte.'' F3v, f4r. I am indebted to Prof Petrina for pointing out that Geometry, not the author, is the subject of the sentence. I mention this particularly because I know that many readers will trace the translation line by line, comparing it to a transcription or the scans of the ms, and may wonder why Geometry is apparently on the wrong line! It serves to illustrate the differences between the two languages, and as a reminder that similar changes to word order can be expected throughout.</ref></p>
  
<poem>Ponder this, my conclusion:
+
<p>The sword is placed in her care,<br/>
It is a true science and not an art
+
So measure blows and steps together<br/>
As my brief eloquence shall show.</poem>
+
So Science keeps you safe.</p>
  
<poem>Geometry divides and separates
+
<p>From Geometry fencing is born,<br/>
By infinite numbers and measures,  
+
And under her it has no end;<br/>
And fills her papers with science.</poem>
+
And both of them are infinite.</p>
  
<poem>The sword is placed in her care,
+
<p>And if you heed my doctrines,<br/>
So measure blows and steps together
+
You’ll know how to answer with reason<br/>
So Science keeps you safe.</poem>
+
And pluck the rose from the thorns.</p>
  
<poem>From Geometry fencing is born,  
+
<p>To make your opinion clearer,<br/>
And under her it has no end;
+
And to sharpen your intellect,<br/>
And both of them are infinite.</poem>
+
So you may be able to answer to everyone:</p>
  
<poem>And if you heed my doctrines,
+
<p>MMusic adorns her and chooses her as its subject,<br/>
You'll know how to answer with reason
+
Song and sound are added to the art,<br/>
And pluck the rose from the thorns.</poem>
+
To make it a more perfect science.</p>
  
<poem>Music adorns this subject,
+
<p>So Geometry and Music combine<br/>
Song and sound enshrine the art,
+
Their scientific virtues in the sword,<br/>
To make it more perfect through science.</poem>
+
To adorn the great light of Mars. </p>
  
<poem>To make your opinion clearer,  
+
<p>Now if you like what I have said,<br/>
And to sharpen your intellect,
+
And the explanations I have written<br/>
So you may be able to answer to everyone:</poem>
+
Keep them in mind, and don’t let it fall out.</p>
  
<poem>So Geometry and Music combine
+
<p>So answer true as I have told you,<br/>
Their scientific virtues in the sword,
+
In fencing you will find no end,<br/>
To adorn the great light of Mars.</poem>
+
As every backhand finds its fore,<br/>
 +
Counter by counter without end.</p>
 +
| class="noline" | {{section|Page:Cod.1324 03v.jpg|3v.4}}
  
<poem>Now if you like what I have said,
+
{{paget|Page:Cod.1324|04r|jpg|p=1}}<br/>{{section|Page:Cod.1324 04v.jpg|4v.1|p=1}}
And the explanations I have written
 
Keep them in mind, so you will not fall.</poem>
 
  
<poem>So answer true as have told you,
+
|}
In fencing you will find no end,
+
{{master subsection end}}
as every backhand finds its fore,
 
Counter by counter without end.</poem>
 
|  
 
{{section|Page:Cod.1324 03v.jpg|3v.4}}
 
  
{{paget|Page:Cod.1324 04r.jpg|4r|p=1}}<br/>{{section|Page:Cod.1324 04v.jpg|4v.1}}
+
{{master subsection begin
 +
| title = Chapter 2 - Measure of the two-handed sword
 +
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter II. Measure of the two-handed sword.}}</p>
'''Chapter II Measures of the two handed sword.'''
+
 
<poem>The sword should be of the just measure,
+
<p>The sword should be of the correct size,<br/>
The pommel should come under the arm  
+
The pommel should come under the arm<br/>
As it appears here in my writing.</poem>
+
As it appears here in my writing.</p>
 +
 
 +
<p>As you wish to avoid any trouble,<br/>
 +
The pommel should be round to fit in the closed fist<br/>
 +
Do this not to enter the trap.</p>
 +
 
 +
<p>And may this be always done:<br/>
 +
The handle should be always a span<br/>
 +
Who does not have this measure will be defeated.</p>
  
<poem>As you wish to avoid any trouble,
+
<p>So your mind is not deceived,<br/>
The pommel should be round to fit the fist
+
The crossguard should be as long as the handle<br/>
Do this to not enter the trap.</poem>
+
And pommel together, and you won't be doomed.<ref>Note that on folio 28r where he gives the form of the sword to be used in armour, the crossguard is as long as the handle alone, not handle and pommel together. The images tend to suggest this latter arrangement.</ref></p>
  
<poem>And do this as it is always done:
+
<p>The crossguard should be strong and square as needed<br/>
The handle should be always a span
+
With a wide and pointed iron,<ref>This could refer to the blade, but most practitioners believe it refers to the crossguard itself, which can indeed be sharpened for striking with, as we see in the section on combat with the sword in armour. The word is ‘ferruza’; ‘ferruzo’ means ‘a little piece of iron’, so the implication is that this would refer to the crossguard.</ref><br/>
If it is not of this measure there is confusion.</poem>
+
It must cut and thrust to do its duty.</p>
  
<poem>So your mind is not deceived,
+
<p>Take note and understand this addendum<br/>
The crossguard should be as long as the handle  
+
If you wish to test the sword in armour,<br/>
And pommel together, and you won't be condemned.</poem>
+
Make the cutting edges four fingers from the point,<br/>
 +
With the handle as is said above,</p>
  
<poem>You want the crossguard strong and square
+
<p>With pointed crossguard, and note well the text.</p>
With a wide and pointed iron,
+
| class="noline" | {{section|Page:Cod.1324 04v.jpg|4v.2}}
It must cut and thrust to do its duty.</poem>
 
  
<poem>Take note and understand this guide
+
|}
If you wish to test the sword in armour,
+
{{master subsection end}}
Make the cutting edges four fingers from the point,
 
With the handle as is said above,</poem>
 
  
With pointed crossguard, and note well the text.
+
{{master subsection begin
| {{section|Page:Cod.1324 04v.jpg|4v.2}}
+
| title = Chapter 3 - Theory of the sword
 +
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter III. Theory of the sword.}}</p>
'''Chapter III Principles of the sword'''
+
 
<poem>Grasp the sword manfully,
+
<p>Grasp the sword manfully,<br/>
Because the cross is a royal weapon,
+
Because the cross is a royal weapon,<br/>
Together with a bold spirit.</poem>
+
Harmonise it with your bold spirit.</p>
 +
 
 +
<p>If you have a judicious mind,<ref>''si tu averai nel cervel tuo sale'', lit. “if you have salt in your brain”.</ref><br/>
 +
You must consider here,<br/>
 +
Which way to take to climb these stairs.</p>
  
<poem>If you have a sharp mind,
+
<p>The art of the sword is only a crossing,<br/>
You must consider here,
+
Delivering thrusts and cuts in the fight,<br/>
The way to climb these stairs.</poem>
+
To make war against he who stands against you.</p>
  
<poem>The art of the sword is just in crossing,
+
<p>On one side you make defence<br/>
Suiting thrust or cut to their context,
+
The forehand blows go from one side,<br/>
To make war on he who stands against you.</poem>
+
The backhands from the other side make offence.</p>
  
<poem>On one side you make defence
+
<p>The true edge falls on the forehand side,<br/>
The forehand blows go on one side,
+
And note well this principle<br/>
The backhands attack from the other.</poem>
+
The backhand takes the same road as the false edge.</p>
  
<poem>The true edge falls on the forehand side,
+
<p>And follow then as the saying goes,<br/>
And note well this truth
+
Place yourself in guard with the sword in hand,<br/>
The backhand and false edge go together.</poem>
+
If you pass forwards or back<ref>''Passi o torni'', lit. “pass or return.” It’s clear from the context that this means forwards or backwards. Also, on f22r of the Getty ms, Fiore describes the three turns and four steps which make up the footwork of his system. By pairing ''accrescere'' and ''discrescere'', ''passare'' and ''torrnare'', it’s clear that ‘passare’ is a pass forward and ‘tornare’ is a pass backward. See also f19r where ‘tornare’ is used and the fencing context makes it absolutely clear that it refers to passing back with the front foot.</ref> remain side-on.</p>
  
<poem>And follow then as the saying goes,
+
<p>So that you will not play in vain,<br/>
Place yourself in guard with the sword in hand,
+
Face the side to which you turn,<br/>
If you pass forwards or back remain side-on.</poem>
+
And enter from there. And don’t let this seem strange to you:</p>
  
<poem>So that you will not play in vain,
+
<p>Place your sword towards the target<br/>
Face the side to which you turn,
+
Against the companion with your point in his face,<br/>
And enter there, if this is not strange.</poem>
+
And be quick to strike him.</p>
  
<poem>Letting your sword go hunting
+
<p>You must be very careful,<br/>
Against the companion with your point in his face,
+
Keep an eye on the weapon that can strike you,<br/>
Ready to strike immediately.</poem>
+
Grabbing the tempo and the measure, well collected.</p>
  
<poem>You must be very shrewd,
+
<p>Make your heart agree with your feet and arm<br/>
Keep an eye on the weapon that can strike you,
+
In defending with good measure,<br/>
Grabbing the tempo and measure together.</poem>
+
That you may take all the honour.</p>
  
<poem>Make your heart agree with your defence
+
<p>And note well and understand my text<br/>
The feet and the arm with good measure,
+
That if the companion strikes with his sword,<br/>
That you may take all the honour.</poem>
+
And achieves the crossing with yours,</p>
  
<poem>And note well and understand my text
+
<p>Watch that you do not end up out of the line,<br/>
That if the companion strikes with his sword,
+
Go with the cover and with the point to the face,<br/>
With yours acquire the crossing.</poem>
+
The blows go hammering the head.</p>
  
<poem>Your guard should not go out of the way,
+
<p>Play of the cross and you will not be conquered,<br/>
Go with the cover and with the point raised
+
If the companion crosses wide and you thrust,<br/>
The blows hammer the head.</poem>
+
You want to not be divided from him.</p>
  
<poem>Play of the cross and you will not be conquered,
+
<p>When you are joined with him at the half sword,<br/>
If the companion crosses wide and you thrust,
+
Get closer to him, as reason calls for,<br/>
You want to not be divided from him.</poem>
+
And leave the wide play and confront him there.</p>
  
<poem>When you are joined with him at the half sword,
+
<p>Also it is often so,<br/>
Constrain him as reason desires,
+
That a man doesn’t feel very strong,<br/>
And leave the wide play and confront him.</poem>
+
Then he needs cunning, not words.</p>
  
<poem>Also sometimes it is so,
+
<p>Pass out of the way with agility,<br/>
That a man doesn’t feel himself very strong,
+
With the cover of the good backhand,<br/>
Then he needs cunning, not words.</poem>
+
Redoubling swiftly with a forehand.</p>
  
<poem>Pass out of the way with skill,
+
<p>If you don’t feel your cunning has been lost<br/>
With the cover of the good backhand,
+
Leave the wide and find the stretto play<br/>
Redoubling swiftly with a forehand.</poem>
+
This will make strength change sides.</p>
  
<poem>If you don’t feel your cunning has been lost
+
<p>And take note of and understand this saying,<br/>
Leave the wide and find the constrained play
+
That when crossing, you will cross with strength,<br/>
Make strength change sides.</poem>
+
Because it dampens the effect of his sword.</p>
  
<poem>And take note of and understand this saying,
+
<p>Know that cleverness always overcomes strength,<br/>
That when crossing, cross with strength,
+
Make the cover and immediately strike,<br/>
To lessen the threat from his sword.</poem>
+
In largo and constrained you’ll beat down strength.</p>
  
<poem>Know that cleverness always overcomes strength,
+
<p>And if you want to make him feel your point,<br/>
Make the cover and immediately strike,
+
Go out of the way with a pass across,<br/>
In wide and constrained you’ll beat down strength.</poem>
+
Make him feel your point in his chest.</p>
  
<poem>And if you want to make him feel your point,
+
<p>With the point high and the pommel low<br/>
Go out of the way with a pass across
+
And the arms out [of the line] with a good cover,<br/>
Make him feel your point in his chest.</poem>
+
Pass to the left side with a good pace.</p>
  
<poem>With the point high and the pommel low
+
<p>And if the point will find an open way,<br/>
And the arms inside with a good cover,
+
Passing to the outside do not fear,<br/>
Pass to the left side with a good pace.</poem>
+
In every way you will make your offer.</p>
  
<poem>And the point will find an open way,
+
<p>Press in and grasp the grip of his sword,<br/>
Passing to the outside do not fear,
+
If this cannot be done well,<br/>
In every way you will make your offer.</poem>
+
Crushing his sword does the duty.</p>
  
<poem>Control him and grasp the grip of his sword,
+
<p>Always match your passes<br/>
If this cannot be done well,
+
With the enemy’s, and when you find him<br/>
Crushing his sword does the duty.</poem>
+
(And what I say do not forget)</p>
  
<poem>Always match your passes
+
<p>As you see that he moves the sword,<br/>
With the enemy’s, and when you find him
+
Or if he passes, or even strikes,<br/>
This I say- do not let go!</poem>
+
Or you pass back, or you find him near,</p>
  
<poem>When you see that the sword moves,
+
<p>Let wisdom, strength and boldness go<br/>
Or if he steps, or strikes,
+
With him who desires honour in arms,<br/>
Or you pass back, or make him find a bump.</poem>
+
Lacking these, he must exercise more.</p>
  
<poem>Wisdom, strength and boldness act
+
<p>You must have a bold heart,<br/>
With him who desires honour in arms,
+
If a big man appears strong to you<br/>
Lacking these, he must exercise more.</poem>
+
Use cunning, it will give you advantage.</p>
  
<poem>You must have a bold heart,
+
<p>Be as careful as you would be with death<br/>
If a big man appears strong
+
That your play is not courteous,<br/>
Using cunning will give you favour.</poem>
+
When the other tries to shame you.</p>
  
<poem>Be as certain as death
+
<p>And note well this statement of mine,<br/>
That your play is not courteous,
+
You know your heart, not the companion’s<br/>
When the other tries to shame you</poem>
+
Do not ever fall into that illusion.</p>
  
<poem>And note well this text of mine,
+
<p>Make yourself great in trickery<br/>
You know your heart, not the companion’s
+
If you wish for success in this art<br/>
Do not wish ever to use that fantasy.</poem>
+
That will bear good fruit.</p>
  
<poem>Make yourself great in trickery
+
<p>Note well and understand this part:<br/>
If you wish for success in this art
+
He who wishes to use the art to oppose everyone,<br/>
That will bear good fruit.</poem>
+
Out of a thousand, one will best him,<ref>This is very obscure in the Italian. Prof. Petrina suggests: “Imbratar carte” means write a lot with little effect – it is usually said of a bad poet. So – he who wishes to oppose his own art to everybody else’s is writing a lot to no effect?” Alessandra Petrina, personal correspondence, 23rd March 2018.</ref></p>
  
<poem>Note well and understand this part
+
<p>And so he loses his honour for one single mistake.<br/>
Who wishes of the art to act in opposition
+
He who is below may believe to be above,<br/>
Of a thousand, one will dirty his cards.</poem>
+
And this is the kind who is often combative with others,</p>
  
<poem>He loses honour for one single failing
+
<p>Often he will start a disagreement with another,<br/>
If he believes low things to be high
+
And what started as such becomes a quarrel,<br/>
And from this alone will be often against others.</poem>
+
Here is where he who knows the art will show his mettle.</p>
  
<poem>Often he makes from this other complaints
+
<p>If the tongue could cut by its nature,<br/>
Being in opposition he comes to quarrel
+
And strike as well as the sword can,<br/>
Showing that with him who is versed in the art</poem>
+
The dead would be countless.</p>
  
<poem>If the tongue could cut with reasons,
+
<p>And make sure your mind does not fall<br/>
And strike as does the sword,
+
But choose your defence with reason,<br/>
The dead would be infinite.</poem>
+
And with justice go justly.</p>
  
<poem>And make sure your mind does not fall
+
<p>He who wishes to offend others without reason<br/>
But grasp with reason your defence,
+
Certainly damns his soul and body<br/>
And with justice go justly.</poem>
+
And brings shame upon his master.</p>
  
<poem>If you go without reason to offend others,
+
<p>And you must also keep in mind<br/>
Certainly damns his soul and body
+
To always honour your teacher,<br/>
And makes his master ashamed.</poem>
+
Because money alone does not repay such a debt.</p>
  
<poem>And you must always keep in mind
+
<p>He who wishes to master the sword and be dextrous,<br/>
To always honour your teacher,
+
Must be accomplished in teaching and learning,<br/>
Because money does not repay such a debt.</poem>
+
While removing from you any wrong action.</p>
  
<poem>If you would be dextrous, and master the sword,
+
<p>If you never stop prizing loyalty,<br/>
You must be accomplished in teaching and learning,
+
You can talk to princes and kings,<br/>
Raising to give you the act of the left.</poem>
+
So that this art be used by them.</p>
  
<poem>If loyalty for them gives you (their) love,
+
<p>Because they are expected to govern<br/>
You can talk to princes and kings,
+
And for each to maintain justice,<br/>
Because this art is used by them.</poem>
+
For widows, orphans and other affairs.</p>
  
<poem>Because they are expected to govern
+
<p>All sorts of good things come from this art,<br/>
And each to maintain justice,
+
By arms the cities are governed,<br/>
For widows, orphans and other affairs.</poem>
+
And the crowds are kept under control.</p>
  
<poem>All sorts of good things come from this art,
+
<p>And she maintains in herself such dignity,<br/>
By arms the cities are kept down
+
That it often warms your heart,<br/>
And the crowds are kept under control.</poem>
+
Driving out cowardice from you.</p>
  
<poem>And she maintains in herself such dignity,
+
<p>This [art] will make you acquire both riches and honour,<br/>
That it always warms your heart,
+
And this passes above all other things,<br/>
Driving out cowardice.</poem>
+
Be always in your lord’s good graces.</p>
  
<poem>Acquire both riches and honour
+
<p>If you will have such a magnificent art,<br/>
And this passes above all other things
+
You will never be poor, anywhere,<br/>
Be always in your lord’s good graces.</poem>
+
Because this virtue is so glorious.</p>
  
<poem>If you would have fame in this art,
+
<p>If poverty shows you the cards<br/>
You will never be poor, anywhere,
+
Only once, then you will see,<br/>
Because this virtue is so glorious.</poem>
+
By this art, riches will embrace you.</p>
  
<poem>If poverty shows you the cards
+
<p>Sometimes you will find yourself<br/>
Only once, then you will see,
+
Being like a blown-out candle,<br/>
By this art, riches will embrace you.</poem>
+
Do not doubt that you will soon return.</p>
  
<poem>Sometimes you will find yourself
+
<p>To find this art I have spared no pains,<br/>
Being like a spent light,
+
I speak not of the old but the new,<br/>
Do not doubt that you will soon return.</poem>
+
I am happy to have put her to paper.</p>
  
<poem>To find this art I have spared no pains,
+
<p>I have kept her firmly imprisoned,<br/>
I speak not of the old but the new
+
But as I release her, I truly swear:<br/>
To make her known I am content.</poem>
+
She gives me wealth, and as it happened to me,<br/>
 +
So it happens to those in whom virtue is found.</p>
 +
| class="noline" |
 +
{{section|Page:Cod.1324 04v.jpg|4v.3|p=1}}<br/>{{paget|Page:Cod.1324|05r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|05v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|07r|jpg|p=1}}<br/>{{section|Page:Cod.1324 07v.jpg|7v.1|p=1}}
  
<poem>I have kept her firmly imprisoned,
+
|}
But as I release her, I truly swear
+
{{master subsection end}}
She gave me wealth, and as it happened to me,
+
 
So it will be for those in whom we find this virtue.</poem>
+
{{master subsection begin
| {{section|Page:Cod.1324 04v.jpg|4v.3}}<br/>{{paget|Page:Cod.1324 05r.jpg|5r}}<br/>{{paget|Page:Cod.1324 05v.jpg|5v}}<br/>{{paget|Page:Cod.1324 06r.jpg|6r}}<br/>{{paget|Page:Cod.1324 06v.jpg|6v}}<br/>{{paget|Page:Cod.1324 07r.jpg|7r}}<br/>{{section|Page:Cod.1324 07v.jpg|7v.1}}
+
| title = Chapter 4
 +
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Fourth Chapter}}<ref>This number is written out (''quarto''), and does not have a roman numeral in the ms, so I have written it out here.</ref></p>
'''Chapter Four'''
+
 
<poem>This art is so noble and refined,
+
<p>This art is so noble and refined,<br/>
She makes masters of men who follow her,
+
She teaches man [how] to proceed,<br/>
Makes the eye quick and bold and noble.</poem>
+
Makes the eye quick, bold and noble.</p>
 +
 
 +
<p>This art teaches you to turn well,<br/>
 +
Teaches also to cover and be strong,<br/>
 +
And cuts and thrusts, it teaches [you] to parry well.</p>
  
<poem>This art teaches you to turn well,
+
<p>How many are those, the numberless dead,<br/>
Teaches also to cover and be strong,
+
To whom the art did not appeal,<br/>
And cuts and thrusts, it teaches the good parry.</poem>
+
And so they closed the doors of life.</p>
  
<poem>How many are those, the numberless dead
+
<p>There is no greater treasure than life,<br/>
To whom the art did not appeal,
+
And everyone strives to defend it,<br/>
And so they closed their doors to life.</poem>
+
To hold onto it as hard as they can.</p>
  
<poem>There is no greater treasure than life,
+
<p>Abandon material goods, and all valuable things,<br/>
And everyone strives to defend it,
+
Defend your body with this art,<br/>
To hold onto it as hard as they can.</poem>
+
And you will have honour and glory.</p>
  
<poem>Abandon material goods, and all valuable things,
+
<p>Oh what a laudable and good thing it is<br/>
Defend your body with this art,
+
To learn this art that costs you so little,<br/>
And you will have honour and glory.</poem>
+
And a thousand times gives you life.</p>
  
<poem>Oh what a laudable and good thing it is
+
<p>Oh in how many ways it can serve you,<br/>
To learn this art that costs you so little,
+
Without searching you will find quarrels,<br/>
And a thousand times gives you life.</poem>
+
Blissful is he who can put out another’s fire.</p>
  
<poem>Oh in how many ways it can have a place with you
+
<p>My art, new and made with reason,<br/>
Without searching you will find quarrels
+
I speak not of the old, that I leave<br/>
Blissful is he who can push the other’s fire.</poem>
+
To our ancestors and their beliefs.</p>
  
<poem>My art is new and made with reason
+
<p>If you do not want your honour to be thrown down,<br/>
I speak not of the old, that I leave
+
Measure your tempo and that of the companion.<br/>
To our ancestors and their beliefs.</poem>
+
This is the foundation of the art and its measure.</p>
  
<poem>If you do not want your honour to be thrown down,
+
<p>Open your ears to the great text,<br/>
Measure your tempo and that of the companion.
+
And understand its beautiful principles,<br/>
This is the foundation and base of the art.</poem>
+
To not give your teacher cause for lament.</p>
  
<poem>Open your ears to the great text,
+
<p>Make it so the swords are always sisters<br/>
And understand its beautiful reason,
+
When you come to fence with someone<br/>
To not give your teacher cause for complaint.</poem>
+
And choose between them the one you want.<ref>The image here is of a formal duel, in which the duellists are given their choice of weapons. This indicates a specific context for this art to work in.</ref></p>
  
<poem>Make it so the swords are always sisters
+
<p>Do not give advantage of the sword<ref>Advantage of the sword is presumably length, especially in a duelling context.</ref> to anyone<br/>
When you come to fence with someone
+
You will be in danger of being shamed,<br/>
And choose the one you want from them.</poem>
+
And this is something that everyone must follow.</p>
  
<poem>Do not give advantage of the sword to anyone
+
<p>Good eye, knowledge, speed are needed,<br/>
You will be in danger of being shamed,
+
And if you have strength and heart with you<br/>
And this is something to be followed by anyone.</poem>
+
You will give everyone their due.<ref>Lit. “You will make everyone scratch their own mange”</ref></p>
  
<poem>Good eye, knowledge, speed are needed,
+
<p>Understand my statement well,<br/>
And if you have strength and heart together
+
A big man should have a long sword,<br/>
You will scratch anyone’s mange.</poem>
+
And a little man should have a short one.</p>
  
<poem>Understand my sentence well,
+
<p>A man’s great strength can break the guards,<br/>
A big man should have a long sword,
+
But natural cleverness will keep that in check,<br/>
And a little man should have a short one.</poem>
+
It gives good boldness to a small man.</p>
  
<poem>A man of great strength can break the guards,
+
<p>Who knows many actions carries venom with him.<br/>
But natural cleverness will keep that in check,
+
Who knows few, struggles<br/>
It gives a good chance to a small man.</poem>
+
And in the end [he] remains [with] wind, or less.<ref>This is a poetic image, which conveys the defeat of the ignorant by the knowledgeable.</ref></p>
  
<poem>Who makes many blows brings venom
+
<p>And if you follow my thread<br/>
Who makes few does so with great effort,
+
And grasp the principle of this art,<br/>
In the end a black wind can be pleasant.</poem>
+
At need this will extract you from trouble.</p>
  
<poem>And if you come to the edge of my line,
+
<p>And note well the saying which goes:<br/>
And grasp the reason of this art,
+
Do not display the secrets of the art,<br/>
She must extract you from trouble.</poem>
+
So you won’t be injured for this cause.</p>
  
<poem>And note well that of which I speak,
+
<p>Also understand well this other thing:<br/>
Do not display the secrets of the art
+
The sword that is longer is deadly,<br/>
So you won’t be injured for this reason.</poem>
+
You cannot play against it without danger;</p>
  
<poem>Also understand well this other thing,
+
<p>Make sure they are of equal measure,<br/>
The sword that is longer is deadly,
+
As I said to you in the first chapter<br/>
You cannot play with it without danger.</poem>
+
Of our book, that is above.</p>
  
<poem>Make sure they are of equal measure,
+
<p>I only esteem the sword of two hands,<br/>
As I said in the first chapter
+
And this is the only one I use at need,<br/>
Of our book, that is above.</poem>
+
And of which the verse of my book sings.</p>
  
<poem>I only esteem the sword of two hands,
+
<p>If you don’t want to be shamed,<br/>
And this is the only one I use at need,
+
Don’t pick a fight with more than one:<br/>
And of which the verse of my book sings.</poem>
+
You’ll end up sounding worse than a bagpipe.</p>
  
<poem>And so you will not be shamed,
+
<p>If force constrains you to contend<br/>
Avoid fighting more than one
+
With more than one, then keep this in mind,<br/>
Who makes against the other one the reed-pipe.</poem>
+
Take a sword that you can really use.</p>
  
<poem>If force constrains you to contend
+
<p>Choose a weapon that is light, not heavy,<br/>
With more than one, then keep this in mind,
+
So it is easily controlled<br/>
Take a sword that you can really use.</poem>
+
And you do not have to struggle with the weight.</p>
  
<poem>Choose a weapon that is light, not heavy,
+
<p>At need you can take another way,<br/>
So it is easily controlled
+
And you leave the thrust and employ<br/>
And you are not given difficulty by the weight.</poem>
+
Other blows to even things out,</p>
  
<poem>At need you can take another way,
+
<p>As you will hear in my text.</p>
And you leave the thrust and employ
+
| class="noline" | {{section|Page:Cod.1324 07v.jpg|7v.2}}
Other blows to return here,</poem>
 
  
<poem>As you will hear in my text.</poem>
+
{{paget|Page:Cod.1324|08r|jpg}}
| {{section|Page:Cod.1324 07v.jpg|7v.2}}
 
  
{{paget|Page:Cod.1324 08r.jpg|8r}}
+
{{paget|Page:Cod.1324|08v|jpg|p=1}}<br/>{{section|Page:Cod.1324 09r.jpg|9r.1|p=1}}
  
{{paget|Page:Cod.1324 08v.jpg|8v}}
+
|}
 +
{{master subsection end}}
  
{{section|Page:Cod.1324 09r.jpg|9r.1}}
+
{{master subsection begin
 +
| title = Chapter 5 - Of thrusts and cuts
 +
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter V. Of thrusts and cuts}}</p>
'''Chapter V Of Thrusts and Cuts'''
+
 
<poem>The sword has a point and two edges,
+
<p>The sword has a point and two edges,<br/>
But note well and understand this text,
+
But note well and understand this text,<br/>
That memory will not fail you.</poem>
+
That memory will not bamboozle you:</p>
 +
 
 +
<p>One [edge] is the false, and the other the true,<br/>
 +
And reason commands and desires<br/>
 +
That you keep this fixed in your brain.</p>
 +
 
 +
<p>Forehand and true edge go together,<br/>
 +
Backhand and false edge stay together,<br/>
 +
Except the fendente which calls for the true.</p>
  
<poem>One is the false, and the other the true,
+
<p>Understand my text well,<br/>
And reason commands and desires,
+
Seven are the blows that the sword delivers<br/>
That this is fixed in your brain.</poem>
+
That would be six cuts, with the thrust.</p>
  
<poem>Forehand and true edge go together,
+
<p>SSo that you will find this vein,<br/>
Backhand and false edge stay together,
+
Two from above and below and two in the middle,<br/>
Except the fendente which wants the true.</poem>
+
The thrust up the middle with deceit and pain,<br/>
 +
That often gets us out of trouble.<ref>''Che l’aer nostro fa spesso serena'', lit. “that often makes our skies serene”.</ref></p>
 +
| class="noline" | {{section|Page:Cod.1324 09r.jpg|9r.2}}
  
<poem>Understand my text well,
+
|}
The sword goes with seven blows
+
{{master subsection end}}
Six cuts with the thrust that strikes.</poem>
 
  
<poem>So that you will find this seam,
+
{{master subsection begin
Two from above and below and two in the middle,
+
| title = Chapter 6 - The seven blows of the sword
The thrust up the middle with deceit and suffering,
+
| width = 90em
That our Air is often calm.</poem>
+
}}
| {{section|Page:Cod.1324 09r.jpg|9r.2}}
+
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter VI. The seven blows of the sword}}</p>
'''Chapter VI The seven blows of the sword.'''
+
 
<poem>We are the fendenti and we make quarrels,
+
<p>We are the ''fendenti'' and we make quarrels,<br/>
To strike and cut often with grief,
+
To strike and cut often, with pain,<br/>
The head and the teeth with the right reason.</poem>
+
The head and the teeth in a direct way.</p>
 +
 
 +
<p>And all guards that are made low to the ground,<br/>
 +
We break often with our cunning,<br/>
 +
Passing from one to the other without trouble.</p>
  
<poem>And all guards that are made low to the ground,
+
<p>The blows make a bloody mark,<br/>
We break often with our cunning,
+
When we mix them with the rota<br/>
Passing from one to the other without trouble.</poem>
+
We make the entire Art our support.</p>
  
<poem>The blows make a bloody mark,
+
<p>''Fendente'', for striking we are well endowed,<br/>
When we mix them with the rota
+
Returning to guard from pass to pass,<br/>
We support the entire art.</poem>
+
Note: we are not slow to strike.</p>
  
<poem>Fendente for striking we are well endowed,
+
<p>I am the ''rota'' and I have in me such a load,<br/>
Returning to guard from pass to pass,
+
If you want to mix me with the other blows,<br/>
Note we are not slow to strike.</poem>
+
I will often place a thrust in an arc.<ref>This line reads “''io metterò la punta spesso a l’archo''”. “I will place the thrust” is clear. ''Spesso a l’archo'' is literally “often at a bow”. But just as ''bistecca alla fiorentina'' is steak in the manner of Florence, so ''a l’archo'' can be read as “in the manner of an arc”, or possibly “in the manner of a bow”. I will discuss this further in the commentary.</ref></p>
  
<poem>I am the rota and I have in me such a load,
+
<p>I cannot be courteous or loyal,<br/>
That you want to mix me with the other blows,
+
Turning I pass through the forehand fendente<br/>
I place a thrust often at a bow.</poem>
+
And destroy arms and hands without delay.</p>
  
<poem>I cannot be courteous or loyal
+
<p>People call me ''rota'' by name,<br/>
Turning I pass through forehand fendente
+
I seek the deception of the sword<br/>
And destroy arms and hands without delay.</poem>
+
I hone the mind of he who uses me.</p>
  
<poem>People call me Rota by name,
+
<p>We are ''volanti'', always crossing<br/>
I seek the false of the sword
+
And striking from the knee up,<br/>
I please the mind of he who uses me.</poem>
+
Fendente and thrusts we often banish.</p>
  
<poem>We are volanti, always crossing
+
<p>The ''rota'' that come up from below<br/>
And from the knee up we go,
+
Pass us obliquely without fail<br/>
Fendente and thrusts we often banish.</poem>
+
And with the ''fendente'' warm the cheeks.<ref>This means the ''fendente'' strike us. In this last stanza, ''rota'' blows are defeating ''volante'' blows; they are parrying them and returning with a fendente to the face.</ref></p>
 +
| class="noline" |
 +
{{section|Page:Cod.1324 09r.jpg|9r.3|p=1}}<br/>{{section|Page:Cod.1324 09v.jpg|9v.1|p=1}}
  
<poem>By crossing us pass without fail,
+
|}
The Rota that come up from below,
+
{{master subsection end}}
And with the fendente warms our cheeks.</poem>
 
| {{section|Page:Cod.1324 09r.jpg|9r.3}}<br/>{{section|Page:Cod.1324 09v.jpg|9v.1}}
 
  
 +
{{master subsection begin
 +
| title = Chapter 7 - Of the thrust
 +
| width = 90em
 +
}}
 +
{| class="master"
 
|-  
 
|-  
|  
+
! <p>Illustrations</p>
|  
+
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
'''Chapter 7 Of the thrust.'''
+
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
<poem>I am he that quarrels with
+
 
All the other blows, and I am called the thrust.
+
|-
I carry venom like the scorpion.</poem>
+
| class="noline" |
 +
| class="noline" | <p>{{red|b=1|Chapter VII. Of the thrust}}</p>
 +
 
 +
<p>I am she that quarrels with<br/>
 +
All the other blows, and I am called the thrust.<br/>
 +
I carry venom like the scorpion.</p>
 +
 
 +
<p>I feel so strong, bold and ready,<br/>
 +
Often I make the guards waver<br/>
 +
When I am thrown at others and confront them,</p>
  
<poem>I feel so strong, bold and quick,
+
<p>And when I am joined, I harm nobody with my touch.</p>
Often I make the guards plough again
+
| class="noline" | {{section|Page:Cod.1324 09v.jpg|9v.2}}
When I am thrown at others and confront them</poem>
 
  
By my harmful touch, when I join them.
+
|}
| {{section|Page:Cod.1324 09v.jpg|9v.2}}
+
{{master subsection end}}
  
 +
{{master subsection begin
 +
| title = Chapter 8 - The dispute of the cuts and thrusts
 +
| width = 90em
 +
}}
 +
{| class="master"
 
|-  
 
|-  
|  
+
! <p>Illustrations</p>
|  
+
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
'''Chapter VIII The quarrel of the cuts and thrusts.'''
+
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
<poem>The rota with the fendente and the volante
+
 
Say to the thrusts “we will show
+
|-
That you are not so dangerous”.</poem>
+
| class="noline" |  
 +
| class="noline" | <p>{{red|b=1|Chapter VIII. The dispute of the cuts and thrusts}}</p>
 +
 
 +
<p>The ''rota'' with the ''fendente'' and the ''volante''<br/>
 +
Argue with the thrusts and show them<br/>
 +
That they are not so dangerous.</p>
 +
 
 +
<p>And when they come to us,<br/>
 +
All the blows can make them lose their way<br/>
 +
Losing in this joust the chance to strike.</p>
 +
 
 +
<p>The blow of the sword does not lose its turn,<br/>
 +
The thrust is worth little against he who turns quickly<br/>
 +
The blows clear the way for the one who is going.<ref>As I understand it, this means that the quick turn of the cut beats the thrust out of the way, ‘making room’ for you.</ref></p>
  
<poem>And when they come to us,
+
<p>If you don’t have a quick memory,<br/>
All the blows can make them lose their way
+
If the thrust doesn’t wound it loses its turn,<br/>
Losing in this joust the chance to strike.</poem>
+
All the other [blows] deem it weak.</p>
  
<poem>The blow of the sword does not lose its turn,
+
<p>Against just one [opponent] the thrust finds its place,<br/>
Little worth the thrust to him the quick turn,
+
Against more it doesn’t do its duty,<br/>
It makes it go very wide, the blows going that way.</poem>
+
This is found in the text and the act.<ref>That is, in theory and in practice.</ref></p>
  
<poem>If you don’t have a slack memory,
+
<p>If the thrust throws a ''rota'' do not fear,<br/>
If the thrust doesn’t strike it loses the strike
+
If it does not immediately take a good ''fendente'',<br/>
All the others deem it weak.</poem>
+
It remains fruitless, it seems to me. </p>
  
<poem>Against just one the thrust finds its place,
+
<p>Keep in mind a little here,<br/>
Against more it doesn’t do its duty,
+
If the thrust enters but does not swiftly exit,<br/>
This is found in the text and the act.</poem>
+
It lets the companion hurt you with a strike.</p>
  
<poem>If the thrust throws a rota do not fear
+
<p>Cutting a blow, your sword is lost,<br/>
If it does not immediately take a good fendente,
+
If the point loses its way in the strike,<br/>
It remains fruitless against my parry.</poem>
+
Or the right cross from below helps you.<ref> I read this to mean that when cutting, your point should remain in line (in the ''strada''), unless you deliberately allow it to fall, to parry up from below.</ref></p>
  
<poem>Keep in mind here,
+
<p>I make a forehand ''fendente'' at you with the sword,<br/>
If the thrust enters but does not swiftly exit,
+
And break you out of that guard,<br/>
It lets the companion strike back hard.</poem>
+
So that you are forced into a bad spot.</p>
  
<poem>Your sword is expert at slicing a blow,
+
<p>Do not lose even an hour of learning:<br/>
The thrust will lose its way to the strike,
+
The great motions with a serene hand,<ref>''Tempi'' here is clearly ‘motions’, rather than ‘times’.</ref><br/>
It is mocked with the help of the low cross.</poem>
+
Will place you above the others and give you honour.</p>
  
<poem>I make a straight fendente at you with the sword,
+
<p>Break all low guards,<br/>
And break you out of that guard.
+
Low guards await small loads,<br/>
So that you are forced into a bad spot.</poem>
+
And so heavy ones pass without difficulty.</p>
  
<poem>Do not lose a single hour of learning.
+
<p>A heavy weapon does not pass quickly to the step,<br/>
The great blows with a serene hand,
+
Light ones come and go like an arrow from a bow.</p>
Will place you above the others and give you honour.</poem>
+
| class="noline" |
 +
{{paget|Page:Cod.1324|10r|jpg|p=1}}<br/>{{section|Page:Cod.1324 10v.jpg|10v.1|p=1}}
  
<poem>Break all low guards
+
|}
Low guards await small loads,
+
{{master subsection end}}
And so heavy ones pass without difficulty.</poem>
 
  
<poem>Heavy arms do not go quickly to the step,
+
{{master subsection begin
Light ones go and come like an arrow in a bow.</poem>
+
| title = Chapter 9 - Of the Cross
|
+
| width = 90em
{{paget|Page:Cod.1324 10r.jpg|10r}}<br/>{{section|Page:Cod.1324 10v.jpg|10v.1}}
+
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter IX. Of the Cross}}</p>
'''Chapter IX Of the Cross.'''
+
 
<poem>I am the Cross with the name of Jesus
+
<p>I am the Cross with the name of Jesus<br/>
My sign is made both in front and behind
+
My sign is made both in front and behind<br/>
To find many more defences.</poem>
+
To find many more defences.</p>
 +
 
 +
<p>If I confront a different weapon,<br/>
 +
I do not lose my way, I have been proven;<br/>
 +
This often happens because I go looking for it.</p>
 +
 
 +
<p>And when a long weapon finds me,<ref>This line is ambiguous; it could also read “And when a weapon finds me extended”.</ref><br/>
 +
He who with reason makes my defence,<br/>
 +
Will gain the honour in every venture.<ref>The word Vadi uses here is ‘''inprexa''’. It is the same word as the French ‘''emprise''’, which was commonly used in the fifteenth century to denote a feat of arms in which a knight travelled from place to place, fighting other knights in the lists, to gain renown. It was also commonly used to denote a military campaign.</ref></p>
 +
| class="noline" | {{section|Page:Cod.1324 10v.jpg|10v.2}}
  
<poem>If I find myself against a different weapon,
+
|}
I do not lose my way, this has been proven
+
{{master subsection end}}
This I often go looking for.</poem>
 
  
<poem>And when I find a long weapon,
+
{{master subsection begin
Then with reason I make my defence,
+
| title = Chapter 10 - Theory of the half sword
To gain the honour in every venture.</poem>
+
| width = 90em
|
+
}}
{{section|Page:Cod.1324 10v.jpg|10v.2}}
+
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter X. Theory of the half sword}}</p>
'''Chapter X Discussion of the half sword.'''
+
 
<poem>Wanting to follow in this great work,
+
<p>Wanting to follow in this great work,<br/>
It is necessary to explain bit by bit,
+
It is necessary to explain bit by bit,<br/>
All the strikes of the art.</poem>
+
All the strikes of the art.</p>
 +
 
 +
<p>So that it is well understood and put into practice,<ref>This is the point at which terza rima gives way to rhyming couplets. At this stage in the manuscript, the division of the text is not simple. This chapter begins with terza rima, then shifts into couplets, which are not in sync with the quatrains denoted by coloured capitals. The capitals seem to divide the text by sense: one on the stramazzone; one on the roverso, and so on. The reader should be aware that this does not accord with the rhyme scheme.</ref><br/>
 +
Reason demands that I first explain<br/>
 +
The turning principle of the sword.</p>
 +
 
 +
<p>And with arms extended go,<ref> At this point there ''menando'', (“bringing”) is written vertically as a catchword (the first word on the first sheet of the next quire, an aid to the bookbinder).</ref><br/>
 +
Driving the edge to the middle of the companion.</p>
  
<poem>So that you will understand and use
+
<p>And if you wish to appear great in the art,<br/>
The system well, I wish to first make clear
+
You can go from guard to guard,<br/>
The turning principle of the sword.</poem>
+
With a slow and serene hand,<ref>A slow and serene hand: this is one of the more counter-intuitive instructions; why would you want slow, calm motions in a sword fight? In practice, smooth, calm motions are the hallmark of a master.</ref><br/>
 +
With steps that are not out of the ordinary.</p>
  
<poem>And with arms extended
+
<p>If you wish to make some kind of ''stramazone'',<ref>This is the first appearance of stramazone in this text, and I believe in all fencing literature, and it’s described in the line that follows in similar terms to subsequent authors, such as Capoferro: “The ''stramazzone'' is a wheel-like cut delivered from the wrist.” (Leoni 2011, 27.)</ref><br/>
Bring the edge to the middle of the companion.</poem>
+
Do it with a small turn in front of the face,<br/>
 +
Don’t make a very wide motion,<br/>
 +
Because all wide motions<ref>''Largo tempo'', literally “wide time”; another case in which ‘tempo’ is clearly used to mean a movement. ‘Largo’ here is wide or broad.</ref> are for nothing.</p>
  
<poem>And if you wish to appear great in the art,
+
<p>Making the ''roverso'' you will be helped,<br/>
You should go from guard to guard,
+
Passing out of the way with the left foot,<br/>
With a slow and serene hand,
+
Drawing forwards with the right foot too,<br/>
With steps that are not out of the ordinary.</poem>
+
Keeping an eye out for a good parry.</p>
  
<poem>If you wish to make a stramazone at someone
+
<p>When you wish to enter into half sword<br/>
Do it with a small turn to the face
+
As the companion lifts his sword,<br/>
Don’t make a very wide turn
+
Then don’t hold back,<br/>
Because all long movements are for nothing.</poem>
+
Grab the tempo<ref>Tempo here is clearly used in the sense of “opportunity to strike”. “Seize the time” might also work as a translation.</ref> or it will cost you dear.</p>
  
<poem>Making the roverso you will be helped,
+
<p>Place yourself in the guard of the boar,<br/>
Passing out of the way with the left foot,
+
When you enter with the thrust at the face<br/>
Following with the right foot too,
+
Do not be divided at all [from the companion],<ref>''punto divixo'': lit. “point divided”. Rodolfo Tanara pointed out (in private correspondence 5 February 2017) that “in Tuscany [it] is a regionalism to say ''poco e punto'' to say “a few and not at all”. So ''punto'' could be intended as ''affatto'' that is “not at all”; since Philippo Vadi was from Pisa, he could actually have intended that meaning. So in this phrase, the general advice he gives us is to stay close to the companion, “not divided at all”, obviously this favours half-sword measure.”</ref><br/>
Keeping an eye out for a good parry.</poem>
+
Turn quickly a ''roverso fendente''.</p>
  
<poem>When you wish to enter in to half sword
+
<p>And strike a ''dritto''. Keep this in mind,<br/>
As the companion lifts his sword,
+
So that you understand my intention,<br/>
Then don’t hold back,
+
With clear reasoning,<br/>
Grab the tempo or it will cost you dear.</poem>
+
I hope to thoroughly show you the way.</p>
  
<poem>Place yourself in the guard of the boar,
+
<p>I don’t want your blows to be solely ''roverso'',<br/>
When you enter with the thrust at the face
+
Nor just ''fendente'', but between one and the other,<br/>
Do not leave your point in the face,
+
Both between the common one,<ref>This is indicating a vertical downwards blow.</ref><br/>
Turn quickly a roverso fendente.</poem>
+
Hammering the head on all sides.</p>
  
<poem>And draw a mandritto, and keep this in mind.
+
<p>Also I advise you when you have entered,<br/>
So that you understand my intention,
+
Be with the legs not too far apart,<br/>
With clear reasoning,
+
You will be the lord, and clear<br/>
I hope to show you the way.</poem>
+
To constrain and strike valiantly.</p>
  
<poem>I don’t want your blows to be solely roverso,
+
<p>And when you strike a ''roverso fendente'',<br/>
Nor just fendente, but between one and the other,
+
Bend the left knee, and note the text,<br/>
If between is the common one.
+
Extend the right foot,<br/>
Hammering the head on all sides.</poem>
+
Without changing it, i.e. to either side.</p>
  
<poem>Also I advise you when you have entered,
+
<p>Also, the left foot and the head are understood<br/>
Be with the legs paired with his
+
To be connected now,<br/>
You will be lord, and clear,
+
Because the head is closer to the left foot,<ref>This line actually reads “Because it is closer to it”; I have expanded on it for clarity.</ref><br/>
To constrain and strike valiantly.</poem>
+
Than to the right one, that remains sideways.</p>
  
<poem>And when you strike a roverso fendente,
+
<p>So you will be safe from every side,<br/>
Bend the left knee, and note the text,
+
If you want to strike a forehand fendente,<br/>
Extend the right foot,
+
You need to bend<ref>There appears to be a correction to the text: ''pigliare'' (to grab) has been modified to ''pighare'' (to bend). Rubboli has it as the former. (51)</ref><br/>
Without changing it, i.e. to the other side.</poem>
+
The right knee: and extend well the left.</p>
  
<poem>Also, if you see you are going to be attacked,
+
<p>You will consider that the head is now connected,<br/>
The left foot and the head now,
+
To the right foot that is closest.<br/>
Because they are closer together,
+
This is a better way<br/>
So don’t use the direct line, but remain on the diagonal.</poem>
+
Than the footwork of our ancestors.<ref> This detailed explanation of mechanics, with the head being “connected” (''atacata'') to the weighted foot (the one with the bent knee) is unprecedented in fencing literature.</ref></p>
  
<poem>So you will be safe from every side,
+
<p>It is necessary that no one contradicts this,<br/>
So you want the fendente, strike from the right,
+
Because you will be stronger, and more secure,<br/>
You need to bend
+
Hard in defence,<br/>
The right knee: and extend well the left.</poem>
+
And make war with the shortest motion,<br/>
 +
And neither can anyone make you fall.</p>
 +
| class="noline" |
 +
{{section|Page:Cod.1324 10v.jpg|10v.3|p=1}}<br/>{{paget|Page:Cod.1324|11r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|11v|jpg|p=1}}
  
<poem>Clearly the head will also be attacked,
+
|}
With the right foot that is closest.
+
{{master subsection end}}
This is the better way.
 
This is not the footwork of our ancestors.</poem>
 
  
<poem>It is not necessary that anyone contradict this,
+
{{master subsection begin
Because you will be stronger, and more secure,
+
| title = Chapter 11 - Theory of swordplay
Hard in defence,
+
| width = 90em
And make war with shorter movements.
+
}}
And neither can anyone throw you to the ground.</poem>
+
{| class="master"
|
+
|-
{{section|Page:Cod.1324 10v.jpg|10v.3}}<br/>{{paget|Page:Cod.1324 11r.jpg|11r}}<br/>{{paget|Page:Cod.1324 11v.jpg|11v}}
+
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter XI. Theory of swordplay}}</p>
'''Chapter XI Principles of Swordplay.
+
 
<poem>When you are joined at the half sword,
+
<p>When you have arrived at the half sword,<br/>
Make a mandritto or roverso,
+
Making a ''mandritto'' or ''roverso'',<br/>
Be sure to grasp the sense
+
Be sure to grasp the sense<br/>
Of what I say, because it is to the point.</poem>
+
Of what I say, because it is to the point.</p>
 +
 
 +
<p>When you feint keep a sharp eye out,<ref>The word used is ‘visteggi’; in the next chapter, “Ragion de viste di spada”, he uses it again. From the context, he is clearly using the word to mean ‘feint’. The only other place I have encountered this word with the same meaning is in Giganti, Nicoletto, p.23 – in the chapter heading: ''Della finta dichiaratione'' (“Explanation of the feints”), which is subtitled ''Far vista di cavar la Spada con il nodo della mano''. (“Make a feint of disengaging the sword with the wrist.”)</ref><br/>
 +
And make the feint short, with the cover,<br/>
 +
And hold the sword up,<br/>
 +
So your arms play above your head.</p>
 +
 
 +
<p>I cannot say in a few words,<br/>
 +
Because the actions are of the half sword,<br/>
 +
Where you go as you please.<ref>The sense here is that there are so many possible actions to be done from here that it is impossible to list them all.</ref><br/>
 +
When you parry, parry with a ''fendente''.</p>
  
<poem>If you are there, keep a sharp eye out,
+
<p>Brush aside the sword, a little away from you, cautiously,<br/>
And look quickly with the cover,
+
Pressing that of the companion,<br/>
And hold the sword up,
+
You will make a good deal,<br/>
So your arms play above your head.</poem>
+
Parrying well whichever blows.</p>
  
<poem>I cannot say in a few words,
+
<p>When you parry the ''roverso'' do so with<br/>
Because the matter is of the half sword,
+
The right foot forwards, and parry as I have said.<br/>
So that you will be better pleased,
+
Parrying the ''mandritto'',<br/>
When you parry, parry with a fendente.</poem>
+
Put your left foot forwards instead.</p>
  
<poem>Brush aside the sword, a little shortened,
+
<p>You should also keep in mind,<br/>
Treading on that of the companion,
+
When you strike a ''roverso fendente'',<br/>
You will make a good deal,
+
To keep a careful eye out,<br/>
Parrying well however many blows.</poem>
+
So that a ''mandritto'' doesn’t come from underneath.</p>
  
<poem>When you parry the roverso, keep in front,
+
<p>And if the companion strikes, and you all of a sudden<br/>
The right foot, and parry as I have said.
+
Parry, making then to the head<br/>
Parrying the mandritto,
+
A blow with the false edge carefully,<br/>
Keep in front your left foot.</poem>
+
And as he lifts it,<ref>“It” in this case refers to his sword: the opponent is parrying your feint of a false edge blow. Avoid the parry and strike a ''roverso'' from below.</ref> strike a good ''roverso''</p>
  
<poem>You should also keep in mind,
+
<p>From below, across his arms,<br/>
When you strike a roverso fendente,
+
Redoubling then with a quick ''mandritto'',<br/>
To keep a careful eye out,
+
And note also this,<br/>
So that a mandritto doesn’t come from underneath.</poem>
+
That you do not fail the principles of the Art.</p>
  
<poem>And if the companion strikes and you all of a sudden
+
<p>If you strike a ''mandritto'', then beware,<br/>
Parry, making then to the head
+
The ''roverso'' that he might strike.<br/>
A blow with the false edge
+
Make it so that your sword also<br/>
And as he lifts it, strike a good roverso.</poem>
+
Parries with a ''fendente'', so that you are not hit.</p>
  
<poem>From below, through his arms,
+
<p>And if it comes to you then to want<br/>
Redoubling then with a quick mandritto,
+
To enter underneath and grab his handle,<br/>
And note also this,
+
And then do your duty,<br/>
That you do not fail the Reason of the Art.</poem>
+
Hammering his moustache with your pommel,<ref>''Mustaccio'' is a slang word for face (Italian for moustache is baffo), but I hope the reader will forgive me taking advantage of a false friend to create a more memorable image.</ref><br/>
 +
Watching out that you do not get stuck.</p>
 +
| class="noline" |
 +
{{paget|Page:Cod.1324|12r|jpg|p=1}}<br/>{{section|Page:Cod.1324 12v.jpg|12v.1|p=1}}
  
<poem>If you strike a mandritto, then beware,
+
|}
His roverso so he doesn’t strike you,
+
{{master subsection end}}
Make it that your sword
 
Parries with a fendente, so you are not caught.</poem>
 
  
<poem>And if it comes to you then to want
+
{{master subsection begin
To enter underneath and grab his handle.
+
| title = Chapter 12 - Theory of the feints of the sword
And then do your duty,
+
| width = 90em
Hammering his moustache with your pommel,
+
}}
Being very wary that hindrance does not grab you.</poem>
+
{| class="master"
|
+
|-
{{paget|Page:Cod.1324 12r.jpg|12r}}<br/>{{section|Page:Cod.1324 12v.jpg|12v.1}}
+
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter XII. Theory of the feints of the sword}}</p>
'''Chapter XII Discussion regarding the Feints of the Sword.'''
 
<poem>Again I advise you, and note my words well,
 
That when you have entered into half sword</poem>
 
  
<poem>You then well from every side
+
<p>Again I advise you, and note my words well,<br/>
Following the art with good feinting.</poem>
+
That when you have entered into half sword<br/>
 +
You then [act] well from every side,<br/>
 +
Following the art with good feinting.</p>
  
<poem>Feints call out to obfuscate
+
<p>Feints are considered an obfuscation,<br/>
They hide from the other’s defence.
+
They confound the opponent in the defence.<br/>
Do not let him understand,
+
They do not let him understand,<br/>
What you want to do from one side or the other.</poem>
+
What you want to do on one side or the other.</p>
  
<poem>I cannot show you so well,
+
<p>I cannot show you so well<br/>
With my words how to do it with a sword,
+
With my words, as I could with a sword.<br/>
Make your mind go
+
Make your mind go<br/>
To investigate the art with my sayings.</poem>
+
To investigate the art with my sayings,</p>
  
<poem>And grasp valour with reason
+
<p>And grasp valour with reason,<br/>
As I admonish and as I teach you  
+
As I admonish and as I teach you.<br/>
And do it with cunning
+
And make it so that with cunning<br/>
You follow that which I have written in so many verses,
+
You will follow that which I write in so many verses,<br/>
To discover the depths and the banks of the Art.</poem>
+
To discover the depths and the banks of the Art.</p>
|  
+
| class="noline" |  
 
{{section|Page:Cod.1324 12v.jpg|12v.2}}
 
{{section|Page:Cod.1324 12v.jpg|12v.2}}
 +
 
{{section|Page:Cod.1324 13r.jpg|13r.1}}
 
{{section|Page:Cod.1324 13r.jpg|13r.1}}
  
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Chapter 13 - Theory of the half sword
 +
| width = 90em
 +
}}
 +
{| class="master"
 
|-  
 
|-  
|  
+
! <p>Illustrations</p>
|  
+
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
'''Chapter XIII Principles of the half-sword.'''
+
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
<poem>Being then joined at the half sword,
+
 
You can well hammer more and more times,
+
|-
Striking on only one side,
+
| class="noline" |  
Your feints go on the other side.</poem>
+
| class="noline" | <p>{{red|b=1|Chapter XIII. Theory of the half sword}}</p>
 +
 
 +
<p>Having then arrived at the half sword,<br/>
 +
You can well hammer more and more times,<br/>
 +
Striking on only one side,<br/>
 +
Your feints go on the other side.</p>
 +
 
 +
<p>And when he loses his way with parrying,<br/>
 +
And you hammer then on the other side,<br/>
 +
Then you decide<br/>
 +
Which ''stretta'' you should finish with.</p>
 +
 
 +
<p>And if you want to throw blows,<br/>
 +
Let a ''fendente roverso'' go,<br/>
 +
Turning a cross-wise<ref>The line “''voltandoli atraverso''” is inserted in the margin.</ref> false edge blow<br/>
 +
With the point in his face.</p>
  
<poem>And when he loses his way with parrying,
+
<p>Do not be divided from him,<br/>
And you hammer then on the other side,
+
With ''roverso'' or ''mandritto''<br/>
Then you should decide
+
With whichever you can work,<br/>
If you need to finish by closing in.</poem>
+
As long as the knees bend on every side.</p>
  
<poem>And if you want to throw blows,
+
<p>Following that which I showed you above,<br/>
Let a fendente roverso go,
+
I repeat for you again this addition,</p>
<sup>Turning it across</sup>And a false edge with the point in his face.</poem>
 
  
<poem>Do not be divided from his point,
+
<p>Always enter with the point,<br/>
With roverso or mandritto
+
Upwards from below, until you have skewered the face,<br/>
With whichever you can work.
+
Use your strikes in their appropriate times.</p>
Because the knees bend on every side.</poem>
+
| class="noline" | {{section|Page:Cod.1324 13r.jpg|13r.2}}
  
<poem>Following that which I showed you above,
+
|}
I repeat for you again this addition,</poem>
+
{{master subsection end}}
  
<poem>Always enter with the point,
+
{{master subsection begin
Forcing upwards from below, finishing in the face
+
| title = Chapter 14 - Theory of the half tempo of the sword
And you can strike just at the right time.</poem>
+
| width = 90em
|
+
}}
{{section|Page:Cod.1324 13r.jpg|13r.2}}
+
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter XIIII. Theory of the half tempo of the sword}}</p>
'''Chapter XIIII Theory of the half tempo of the sword'''
+
 
<poem>I cannot show you in writing
+
<p>I cannot show you in writing<br/>
The theory and method of the half tempo
+
The theory and way of the half tempo<br/>
Because it remains in a knot
+
Because the shortness of the tempo and its strike<br/>
The shortness of the tempo of his strike.</poem>
+
Reside in the wrist.</p>
 +
 
 +
<p>The half tempo is just one turn<br/>
 +
Of the wrist: quick and immediately striking,<br/>
 +
It can rarely fail<br/>
 +
When it is done in good measure.</p>
  
<poem>The half time is just one turn
+
<p>If you note well my text,<br/>
Of the knot: quick and immediately striking,
+
One who does not practice [the art] will get into trouble:<ref>Porzio and Mele (81) read this line as ''mal separa chi non na la praticha'', or “he who lacks practice does not divide well”. Rubboli and Cesari (57) also transcribe ''separa'' as one word. I read it as ''mal se para'', or “will get into trouble”, which seems to me to fit the context better.</ref><br/>
It can rarely fail
+
Often the quick flight from one side to another<br/>
When it is done in good measure.</poem>
+
Breaks with a good edge the other’s brain.</p>
  
<poem>If you note well my writing
+
<p>Of all the art this is the jewel,<br/>
One who does not practice will parry badly
+
Because in one go it strikes and parries.<br/>
Often the turning
+
Oh what a valuable thing,<br/>
Breaks with a good edge the other’s brain.</poem>
+
To practice it according to the good principles,<br/>
 +
It will let you carry the banner of the Art.<ref>Vadi uses the term ‘gonfalone’, which brings to mind the highest military honour the Pope could bestow (recalling that Urbino was one of the Papal states), that of ''gonfaloniere'', “standard bearer”, an equivalent rank perhaps to Marshal of France in that there was only ever one ''gonfaloniere'' at a time. Guidobaldo’s father Federico was ''gonfaloniere'' from 1462 to 1468 under Pope Pius II, and again from 1474 to 1482 under Sixtus IV. Guidobaldo did indeed make it to that rank like his father before him, from 1504 until his death in 1508, under Julius II. (This has been called into question by Clough.) It’s hard to imagine that Vadi would have been unaware of the reference, and he probably meant this to encourage the young Duke to reach the heights that his father had.</ref></p>
 +
| class="noline" | {{section|Page:Cod.1324 13v.jpg|13v.1}}
  
<poem>Of all the art this is the jewel,
+
|}
Because it treats as one the strike and the parry,
+
{{master subsection end}}
Oh what a valuable thing,
+
 
So practice it with good reason,
+
{{master subsection begin
And it will let you carry the banner of the art.</poem>
+
| title = Chapter 15 - Theory of the sword against the rising blow
|
+
| width = 90em
{{section|Page:Cod.1324 13v.jpg|13v.1}}
+
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter XV. Theory of the sword against the rising blow}}</p>
'''Chapter XV Theory of the sword against the rising blow
+
 
<poem>There are many who make their base
+
<p>There are many who make their base<br/>
In turning strongly from every side
+
In turning strongly from every side<br/>
So be advised,  
+
So be advised,<br/>
As his sword turns, move</poem>
+
As his sword is turning, move,</p>
 +
 
 +
<p>And you turn and you will win the test,<br/>
 +
Then harmonise yourself with his strikes,<br/>
 +
And make your going thus<br/>
 +
With your sword behind his.</p>
 +
 
 +
<p>To better explain your design,<br/>
 +
You can also go into boar’s tooth guard,<br/>
 +
And if he with the turning,<br/>
 +
And you ripping up from below.<ref>The verb used here is ‘scharpando’, the gerund form of the vulgar scharpare, from Latin discerpere – Italian dilaniare. It means to tear apart, rip apart, to shred. (Rodolfo Tanara, private correspondence, 3 February 2017.) Incidentally, by ripping up from below, you beat aside the opponent’s sword and your blade does end up behind theirs, as recommended in the previous quatrain.</ref></p>
  
<poem>And you turn and you will win the test,
+
<p>Listen and understand my reasoning,<br/>
Harmonise yourself with him and also with the strikes
+
You who are new to the art, and experts too,<br/>
And make your going thus
+
I want you to be sure,<br/>
With your sword directly to his.</poem>
+
That this is the art and the true science.</p>
  
<poem>To clear your mind of illusions,
+
<p>Grasp this, that is a steelyard’s trace:<ref>This line reads “Piglia questo, che un tracto di stadera”. A steelyard is a weighing scale, with arms of unequal length. It is hung from a hook, with the item to be weighed hung from the short arm, and the counterweight hung from the longer arm, and slid along until the scale balances. The position of the counterweight on the longer arm tells you the weight of the item. ‘Tracto’ here probably refers to the gradations on the steelyard. The image is perhaps one of rapid movement, a passing instant. I am indebted to Rodolfo Tanara who suggested this reading. Personal conversation, 3 February 2017.</ref><br/>
You can also go into boar’s tooth guard,
+
The companion is in the iron door guard,<br/>
And if he with the turning,
+
Lock this into your heart,<br/>
And you escaping from below up.</poem>
+
Make it so you are in the archer’s guard,</p>
  
<poem>Listen and understand my reasoning,
+
<p>Watch out that your point does not waver,<br/>
You who are new to the art, and experts too,
+
And covers the companion’s sword;<br/>
I want you to be sure,
+
Go a little out of the way<br/>
That this is the art and the true science.</poem>
+
Straightening the sword and the hand with the point.</p>
  
<poem>Grasp this, that is a steelyard’s trace,
+
<p>When your sword is joined at the crossing,<br/>
That if the companion is in the iron door guard,
+
Then do the thirteenth stretta,<br/>
Lock this into your heart,
+
As is you can plainly see<br/>
You should be in the archer’s guard,</poem>
+
Pictured in our book on page seven.<ref> This is a very specific reference, but one that makes no sense. The thirteenth play of the sword is on f20v. This would be page 40 of the ms. The seventh page starting from the beginning of the sword section (the page with Vadi’s portrait on, 16r), is 19r. If we count each ‘''carta''’ in the way we count folia, then we get to 22r (counting from 16r), or 21r counting from the beginning of the illustrated section (15r). For the purposes of reconstructing this action, I use the thirteenth play of the sword, and disregard the page reference.</ref></p>
  
<poem>Watch out that your point does not waver,
+
<p>You can also use in this art<br/>
That of the companion covers his sword;
+
Strikes and strette that are handier to you,<br/>
Go a little out of the way
+
Leave the more clumsy,<ref>''Sinestre'' is literally “left-handed ones”. This is the antonym of ‘dextrous’. Clumsy is the intended meaning.</ref><br/>
Straightening the sword and the hand with the point.</poem>
+
Keep those that favour your hand,<br/>
 +
So you will often have honour in the art.</p>
 +
| class="noline" |
 +
{{section|Page:Cod.1324 13v.jpg|13v.2|p=1}}<br/>{{section|Page:Cod.1324 14r.jpg|14r.1|p=1}}
  
<poem>When your sword is joined at the crossing,
+
|}
Then do the thirteenth constrained action,
+
{{master subsection end}}
As is you can plainly see
 
Pictured in our book of seven leaves.</poem>
 
  
<poem>You can also use in this art
+
{{master subsection begin
Striking and closing that are more handy,
+
| title = Chapter 16 - Instruction of the sword
Leave the more left-handed,
+
| width = 90em
Keep those that favour your hand,
+
}}
So you will often have honour in the art.</poem>
+
{| class="master"
|
+
|-  
{{section|Page:Cod.1324 13v.jpg|13v.2}}<br/>{{section|Page:Cod.1324 14r.jpg|14r.1}}
+
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter XVI. Instruction of the sword}}</p>
'''Chapter XVI Mastering the sword'''
+
 
<poem>It is necessary that the sword should be
+
<p>It is necessary that the sword should be<br/>
A great shield that covers all,
+
A great shield that covers all of you,<br/>
And grasp this fruit,
+
And grasp this fruit,<br/>
That I give you for your mastery.</poem>
+
That I give you for your instruction.</p>
 +
 
 +
<p>Be sure that your sword is never far away<br/>
 +
In making guards or striking<br/>
 +
Oh how sensible this thing is,<br/>
 +
That your sword makes short movements.</p>
 +
 
 +
<p>Make it so your point watches the face<br/>
 +
Of the companion, in guard or striking,<br/>
 +
You will take away his courage,<br/>
 +
Seeing always the point staying in front of him.</p>
  
<poem>Be sure that your sword does not
+
<p>And you will make your plays always forwards,<br/>
Make guards or strike far away,
+
With your sword and with a small turn,<br/>
O how sensible this thing is,
+
With a serene and relaxed hand,<br/>
That your sword makes short movements.</poem>
+
Often breaking the tempo of the companion,<br/>
 +
You will weave a web better than a spider’s.</p>
  
<poem>Your point should watch the face,
+
<p>'''The End.'''</p>
Of the companion, in guard or striking,
+
| class="noline" |
You will take his courage,
+
{{section|Page:Cod.1324 14r.jpg|14r.2|p=1}}<br/>{{paget|Page:Cod.1324|14v|jpg|p=1}}
Seeing always the point staying in front of him.</poem>
 
  
<poem>And you will make your plays always forwards,
+
|}
With your sword and with a small turn,
+
{{master subsection end}}
With a serene and nimble hand,
 
Often breaking the tempo of the companion,
 
You will weave a web different than spider’s.</poem>
 
  
[END]
+
{{master subsection begin
|  
+
| title = Diagrams
{{section|Page:Cod.1324 14r.jpg|14r.2}}<br/>{{paget|Page:Cod.1324 14v.jpg|14v}}
+
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| [[File:Cod.1324 15r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15r.jpg]]
+
| [[File:Cod.1324 15r.png|300px|center]]
| <poem>I am callipers, that divide into parts,
+
| <p>I am callipers, that divide into parts,<br/>O fencer heed my principle,<br/>Thus [the callipers] measure the tempo similarly.<ref>This means that the tempo is measured by dividing it into parts.</ref></p>
O fencer heed my reason,
 
Thus measure the tempo similarly.</poem>
 
  
<poem>The nature of the bear is to turn,
+
<p>The nature of the bear is to turn<br/>
Going here, there, up and around
+
Here, there, up and down:<br/>
Thus your shoulder should move,
+
Thus your shoulder should move,<br/>
Sending your sword out to hunt.</poem>
+
Sending your sword out to hunt.</p>
  
<poem>The right hand should be prudent,
+
<p>I am a ram, always on the lookout,<br/>
Bold and deadly as a serpent.</poem>
+
Naturally always looking to clash,<br/>
 +
So your cut should be clever,<br/>
 +
Always parry when [your cut] is answered.</p>
  
<poem>I am a ram, always on the lookout,
+
<p>The right hand should be prudent,<br/>
Naturally always looking to butt,
+
Bold and deadly as a serpent.</p>
So your cut should be clever,
 
Always parry when there is an answer.</poem>
 
  
<poem>With the left hand, the sword is to thrust
+
<p>The eye with the heart should be alert,<br/>
Or to strike when it is joined
+
Bold and full of foresight.</p>
And if you want the strike to be complete
 
Make it as quick as a greyhound.</poem>
 
  
<poem>The eye with the heart should be alert,
+
<p>With the left hand I have the sword by the point,<br/>
Bold and full of foresight.</poem>
+
To strike already when it is joined<br/>
 +
And if you want the strike to be complete<br/>
 +
Make it as quick as a greyhound.</p>
  
<poem>And he who does not have these keys with him
+
<p>And he who does not have these keys with him<br/>
Will make little war with this play.
+
Will make little war with this play.<ref>These keys (the Keys of St Peter) appear both on the coin struck for Philippo Vadi, as noted in the introduction, and on the seal of the Duke of Urbino where they symbolise Guidobaldo’s father Federico’s status as Gonfalioniere della Chiesa.</ref></p>
The legs keys it is well said,
 
Because you close them andalso open them,</poem>
 
  
<poem>You see the sun, that makes great turns,
+
<p>The legs [are] keys it is well said,<br/>
And where it is born it returns.
+
Because you close them and also open them. </p>
The foot with the sun should return together,
 
If you want the play to adorn your person.</poem>
 
  
<poem>The left foot firm without fear,
+
<p>You see the sun, that makes great turns,<br/>
Make it constant like a rock
+
And where it is born it returns.<br/>
And then your body will be completely safe.</poem>
+
The foot with the sun should return together,<br/>
 +
If you want the play to adorn your person.</p>
  
<poem>When one or other foot bothers you
+
<p>Plant the left foot without fear,<br/>
Turn it quickly like a mill wheel,
+
Make it firm like a castle,<br/>
The heart must be foresightful,
+
And then your body will be completely safe.</p>
That expects shame and honour.</poem>
+
 
|  
+
<p>When one or other foot bothers you<br/>
{{paget|Page:Cod.1324 15r.jpg|15r}}
+
Turn it quickly like a mill wheel,<br/>
 +
The heart must be foresightful,<br/>
 +
For on it depends shame and honour.<ref>This line has some text missing. Rubboli and Cesari render it: “C[he-testo abraso-] luj s’aspetta vergogna e l’onore.”</ref></p>
 +
| {{paget|Page:Cod.1324|15r|jpg}}
  
 
|-  
 
|-  
| [[File:Cod.1324 15v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15v.jpg]]
+
| class="noline" | [[File:Cod.1324 15v.png|300px|center]]
| <poem>These are the blows of the two-handed sword,
+
| class="noline" | <p>These are the blows of the two-handed sword,<br/>
Not those of the mezo tempo, they remain in a knot.</poem>
+
Not the ''mezzo tempo'', which remains in the wrist.</p>
  
<poem>We are the fendenti and we start the fight,
+
<p><br/></p>
Breaking the teeth in our direct way.</poem>
 
  
<poem>I am the rota and I often turn,
+
<p>I am the ''rota'' and I am often turning,<br/>
Finding the falseness of the sword.</poem>
+
I go looking for the deception of the sword.</p>
  
<poem>We are the volante, always crossing,
+
<p><br/></p>
From the knee up we go destroying.</poem>
 
  
<poem>I am the thrust, dangerous and quick,
+
<p>We are the ''volante'', always crossing,<br/>
Mistress of the other blows.</poem>
+
From the knee up we go destroying.</p>
|  
+
 
{{paget|Page:Cod.1324 15v.jpg|15v}}
+
<p><br/></p>
 +
 
 +
<p>We are the ''fendenti'' and we dispute,<br/>
 +
And we break the teeth with full right.</p>
 +
 
 +
<p>I am the thrust, dangerous and quick,<br/>
 +
Great teacher of the other blows.</p>
 +
| class="noline" | {{paget|Page:Cod.1324|15v|jpg}}
  
 
|}
 
|}
{{hidden end}}
+
{{master subsection end}}
 +
{{master end}}
  
{{hidden begin
+
{{master begin
| title     = <span style="font-size:130%;">[[Longsword]]</span>
+
| title = Sword
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;
+
| width = 90em
| bodystyle = display:block; width:76em;
 
 
}}
 
}}
{| class="wikitable floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <poem>Images</poem>
+
! <p>Illustrations</p>
! <poem>{{rating|B}}<br/>by [[Guy Windsor]]</poem>
+
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
! <poem>[[De Arte Gladiatoria Dimicandi (Cod.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</poem>
+
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 16r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_16r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 16r.png|300px|center]]
| <poem>Here are the guards with their names,
+
| <p>[1] You are guards with your names<br/>Each of you, show yourself from the side.<ref>I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.</ref></p>
Each of your sides is shown.</poem>
 
 
| {{section|Page:Cod.1324 16r.jpg|16r-a}}
 
| {{section|Page:Cod.1324 16r.jpg|16r-a}}
  
 
|-  
 
|-  
| <poem>I am the strong middle iron gate
+
| <p>[2] I am the strong middle iron gate<br/>To give death with thrust and ''fendente''.</p>
Dealing death with thrust and fendente.</poem>
+
 
<poem>::I am the guard of the woman, and I am not vain,
+
:[3] I am the guard of the woman, and I am not useless,<br/>I often conceal the length of the sword.
::I conceal the length of the sword.</poem>
 
 
| {{section|Page:Cod.1324 16r.jpg|16r-c}}
 
| {{section|Page:Cod.1324 16r.jpg|16r-c}}
 
{{section|Page:Cod.1324 16r.jpg|16r-d}}
 
{{section|Page:Cod.1324 16r.jpg|16r-d}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 16v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_16v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 16v.png|300px|center]]
| <poem>I am the flat ground iron door,
+
| <p>[4] I am the flat ground iron door,<br/>That always impedes cuts and thrusts.</p>
Always impeding cuts and thrusts.</poem>
+
 
<poem>::I am the guard of the falcon, high up above,
+
:[5] I am the guard of the falcon, excellent and high<br/>To make defences in all sorts of ways.
::To make defences in all sorts of ways.</poem>
 
 
| {{section|Page:Cod.1324 16v.jpg|16v-a}}
 
| {{section|Page:Cod.1324 16v.jpg|16v-a}}
 
{{section|Page:Cod.1324 16v.jpg|16v-b}}
 
{{section|Page:Cod.1324 16v.jpg|16v-b}}
  
 
|-  
 
|-  
| <poem>I am the short guard of the extended sword,
+
| <p>[6] I am the short guard of the extended sword,<br/>I often strike and recover into it quickly.<ref>‘It’ here refers to the guard, so having struck, you recover into this position.</ref></p>
I often strike with the turn back.</poem>
+
 
<poem>::I am the archer’s guard, to deceive
+
:[7] I am the archer’s guard, for deception,<br/>I use malice very much in my reign.
::I use malice very much in my reign.</poem>
 
 
| {{section|Page:Cod.1324 16v.jpg|16v-c}}
 
| {{section|Page:Cod.1324 16v.jpg|16v-c}}
 
{{section|Page:Cod.1324 16v.jpg|16v-d}}
 
{{section|Page:Cod.1324 16v.jpg|16v-d}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 17r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_17r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 17r.png|300px|center]]
| <poem>I am the guard of the true window
+
| <p>[8] I am the guard of the true window<br/>According to the art, raise your left leg.<ref>I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.</ref></p>
I raise from the art the thing from the left.</poem>
+
 
<poem>::I am the crown and I am made master
+
:[9] I am the crown and I am made master,<br/>I am found to be adept at binds.
::Of binds I am found to be adept.</poem>
 
 
| {{section|Page:Cod.1324 17r.jpg|17r-a}}
 
| {{section|Page:Cod.1324 17r.jpg|17r-a}}
 
{{section|Page:Cod.1324 17r.jpg|17r-b}}
 
{{section|Page:Cod.1324 17r.jpg|17r-b}}
  
 
|-  
 
|-  
| <poem>With the deadly guard of the boar’s tooth
+
| <p>[10] With the deadly guard of the boar’s tooth<br/>Anyone looking for trouble, I’ll give them plenty.</p>
Anyone looking for trouble, I’ll give them plenty.</poem>
+
 
<poem>::I am the long guard with the short(ened) sword,
+
:[11] I am the long guard with the shortened sword,<ref>''Con la spada curta'', lit. “with the short sword”. This probably refers to the sword being withdrawn, rather than using a different, shorter weapon. Cf note 91 on page XXX re the ''lanza curta''.</ref><br/>That with my cunning bashes the blows.
::That with my cunning defeats the blows.</poem>
 
 
| {{section|Page:Cod.1324 17r.jpg|17r-c}}
 
| {{section|Page:Cod.1324 17r.jpg|17r-c}}
 
{{section|Page:Cod.1324 17r.jpg|17r-d}}
 
{{section|Page:Cod.1324 17r.jpg|17r-d}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 17v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_17v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 17v.png|300px|center]]
| <poem>I am the frontal guard, so secure
+
| <p>[12] I am the frontal guard, so reliable,<br/>I care nothing about cuts and thrusts.</p>
Of cuts and thrusts I have the solution.</poem>
+
 
<poem>::I am the guard of the boar and I am outside,
+
:[13] I am the guard of the boar and I am outside,<br/>I do not relent in striking.
::That of strikes I do not make a home.</poem>
 
 
| {{section|Page:Cod.1324 17v.jpg|17v-a}}
 
| {{section|Page:Cod.1324 17v.jpg|17v-a}}
 
{{section|Page:Cod.1324 17v.jpg|17v-b}}
 
{{section|Page:Cod.1324 17v.jpg|17v-b}}
  
 
|-  
 
|-  
| <poem>I have made a roverso fendente on the left foot,
+
| <p>[14] I have made a ''roverso fendente'' on the left foot,<br/>Without changing the foot, turning the hips,<br/>I will strike a ''dritto'' without further movement.</p>
Without changing the foot turning the hips
 
I strike a dritto without further movement.</poem>
 
 
| {{section|Page:Cod.1324 17v.jpg|17v-c}}
 
| {{section|Page:Cod.1324 17v.jpg|17v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 18r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_18r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 18r.png|300px|center]]
| <poem>By this grip of your arm that I have made,
+
| <p>[15] By this grip of your arm that I have made,<br/>I will hit you with a cut or pommel strike.</p>
I can hit you with a cut or pommel strike.</poem>
 
 
| {{section|Page:Cod.1324 18r.jpg|18r-a}}
 
| {{section|Page:Cod.1324 18r.jpg|18r-a}}
  
 
|-  
 
|-  
| <poem>By this turn that I quickly make to my sword
+
| <p>[16] By this turn that I quickly make to my sword<br/>I will not pause before I hit you with it.</p>
I will not pause with this strike.</poem>
 
 
| {{section|Page:Cod.1324 18r.jpg|18r-c}}
 
| {{section|Page:Cod.1324 18r.jpg|18r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 18v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_18v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 18v.png|300px|center]]
| <poem>I have bound you from the roverso side,
+
| <p>[17] I have bound you from the ''roverso'' side,<br/>You’ll be thrown to the ground by a blow of the sword.</p>
You’ll be thrown to the ground by a blow of the sword.</poem>
 
 
| {{section|Page:Cod.1324 18v.jpg|18v-a}}
 
| {{section|Page:Cod.1324 18v.jpg|18v-a}}
  
 
|-  
 
|-  
| <poem>In this way I have you with the left hand,
+
| <p>[18] In this way I hold you with my left hand,<br/>Cuts and thrusts will not be lacking.</p>
I will not hold back striking with cuts and thrusts.</poem>
 
 
| {{section|Page:Cod.1324 18v.jpg|18v-c}}
 
| {{section|Page:Cod.1324 18v.jpg|18v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 19r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_19r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 19r.png|300px|center]]
| <poem>By this turn that I have given to my sword
+
| <p>[19] By this turn that I have given to my sword<br/>I think I will have cut the halfway through your throat. </p>
I think I will have cut the middle of your throat.</poem>
 
 
| {{section|Page:Cod.1324 19r.jpg|19r-a}}
 
| {{section|Page:Cod.1324 19r.jpg|19r-a}}
  
 
|-  
 
|-  
| <poem>You will go to the ground with this technique
+
| <p>[20] You will go to the ground with this technique<br/>Because you have completely failed in your play.</p>
And your play has completely failed.</poem>
 
 
| {{section|Page:Cod.1324 19r.jpg|19r-c}}
 
| {{section|Page:Cod.1324 19r.jpg|19r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 19v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_19v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 19v.png|300px|center]]
| <poem>I do not wish to make war with my sword,
+
| <p>[21] I do not wish to make war with my sword,<br/>But with yours I’ll throw you to the ground.</p>
But with yours I’ll throw you to the ground.</poem>
 
 
| {{section|Page:Cod.1324 19v.jpg|19v-a}}
 
| {{section|Page:Cod.1324 19v.jpg|19v-a}}
  
 
|-  
 
|-  
| <poem>I have turned you with force and without difficulty
+
| <p>[22] I have turned you inevitably and without difficulty,<ref>''Per forza'' literally means “by force”, but is usually used in the sense of being obliged, or being constrained by fate. Because Vadi states that this is done “without difficulty”, I’ve gone with the less literal translation.</ref><br/>With my skill I will break your arm.</p>
With my skill I will break your arm.</poem>
 
 
| {{section|Page:Cod.1324 19v.jpg|19v-c}}
 
| {{section|Page:Cod.1324 19v.jpg|19v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 20r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_20r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 20r.png|300px|center]]
| <poem>With skill I have placed you in a similar position,
+
| <p>[23] With skill I have placed you in this position,<br/>I’ll make you go to the ground at the first go.</p>
I’ll make you go to the ground at thefirst blow.</poem>
 
 
| {{section|Page:Cod.1324 20r.jpg|20r-a}}
 
| {{section|Page:Cod.1324 20r.jpg|20r-a}}
  
 
|-  
 
|-  
| <poem>In this way I’ll put you in a lock
+
| <p>[24] In this way I’ll put you in the lock<br/>And I will break your arm while saying a Hail Mary.<ref>Though the Hail Mary prayer is quite long, the expression means “in a jiffy”. If you’re running late, you might say (in Italian) “I’ll be there before you can say a Hail Mary”, which is equivalent to “I’ll be there before you know it”.</ref></p>
And break your arm (in the time it takes to) say “hello”.</poem>
 
 
| {{section|Page:Cod.1324 20r.jpg|20r-c}}
 
| {{section|Page:Cod.1324 20r.jpg|20r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 20v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_20v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 20v.png|300px|center]]
| <poem>By this turn of the pommel I have bound you,
+
| <p>[25] By this turn of the pommel I have bound you,<br/>Immediately if I want to I’ll throw you to the ground.</p>
Immediately If I want to I’ll throw you to the ground.</poem>
 
 
| {{section|Page:Cod.1324 20v.jpg|20v-a}}
 
| {{section|Page:Cod.1324 20v.jpg|20v-a}}
  
 
|-  
 
|-  
| <poem>By this turn of the blade that you have done,
+
| <p>[26] By this turn of the blade that you have done,<br/>I will break your arm at the first go.</p>
I will break your arm at the first attempt.</poem>
 
 
| {{section|Page:Cod.1324 20v.jpg|20v-c}}
 
| {{section|Page:Cod.1324 20v.jpg|20v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 21r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_21r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 21r.png|300px|center]]
| <poem>By the turn quick I have given my sword,
+
| <p>[27] By the turn given to my quick sword,<br/>I’ll strike your arms or your head.</p>
I’ll strike your arm or your head.</poem>
 
 
| {{section|Page:Cod.1324 21r.jpg|21r-a}}
 
| {{section|Page:Cod.1324 21r.jpg|21r-a}}
  
 
|-  
 
|-  
| <poem>If I put my hilt to your sword
+
| <p>[28] If I put my hilt to your sword<br/>I’ll make it fall, this time.<ref>''Per questa fiada'' – this expression implies “just this once”; so, “I could kill you, but just this once, I’ll disarm you instead.”</ref></p>
I’ll make it fall with this action.</poem>
 
 
| {{section|Page:Cod.1324 21r.jpg|21r-c}}
 
| {{section|Page:Cod.1324 21r.jpg|21r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 21v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_21v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 21v.png|300px|center]]
| <poem>This is a grip that I do from below,
+
| <p>[29] This is a grip that I do from below,<ref>Mele and Porzio (117) and Rubboli and Cesari (66) have both transcribed the last word of the first line as ''fora'', which would be “outside”. Fora does not rhyme with ''botta'', and the play is illustrated on the inside, not the outside, so I am confident that this is an error. I read this couplet as “''Questa e una presa ch’io facio de sota/Chascar te la faro a prima botta.''”</ref><br/>I will make it fall at the first go.</p>
I will make it fall at the first go.</poem>
 
 
| {{section|Page:Cod.1324 21v.jpg|21v-a}}
 
| {{section|Page:Cod.1324 21v.jpg|21v-a}}
  
 
|-  
 
|-  
| <poem>You believed I would strike with a backhand blow,
+
| <p>[30] You believed I would strike with a roverso blow,<br/>[But] With my elbow I push your sword across.</p>
With the elbow I push your sword across.</poem>
 
 
| {{section|Page:Cod.1324 21v.jpg|21v-c}}
 
| {{section|Page:Cod.1324 21v.jpg|21v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 22r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_22r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 22r.png|300px|center]]
| <poem>Making the turn that my handle has given,
+
| <p>[31] By the turn that my handle has given,<br/>I make you fall to the ground flat on your back.</p>
I make you fall to the ground backwards.</poem>
 
 
| {{section|Page:Cod.1324 22r.jpg|22r-a}}
 
| {{section|Page:Cod.1324 22r.jpg|22r-a}}
  
 
|-  
 
|-  
| <poem>This is a disarm that is above,
+
| <p>[32] This is a disarm that is above,<ref>‘Above’ here is relative to the opponent’s sword arm. This is in contrast to, for example, the grip held “from below” on f21v.</ref><br/>And if I want to I’ll lay you flat.</p>
And if I want to I’ll lay you flat.</poem>
 
 
| {{section|Page:Cod.1324 22r.jpg|22r-c}}
 
| {{section|Page:Cod.1324 22r.jpg|22r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 22v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_22v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 22v.png|300px|center]]
| <poem>The feint that I made to strike a fendente,
+
| <p>[33] I made a feint of striking a fendente,<br/>I will cut your jaw and teeth together.</p>
Cuts the jaw and teeth together.</poem>
 
 
| {{section|Page:Cod.1324 22v.jpg|22v-a}}
 
| {{section|Page:Cod.1324 22v.jpg|22v-a}}
  
 
|-  
 
|-  
| <poem>From the backhand strike that I have done,
+
| <p>[34] From the roverso strike that I have done,<br/>I’ll hit you with my pommel, and look good doing it.</p>
I’ll give you a good strike with my pommel.</poem>
 
 
| {{section|Page:Cod.1324 22v.jpg|22v-c}}
 
| {{section|Page:Cod.1324 22v.jpg|22v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 23r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_23r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 23r.png|300px|center]]
| <poem>This is a grip that I do on the inside,
+
| <p>[35] This is a grip that I do on the inside,<br/>You’re going to the ground as I feel.</p>
I feel that you’re going to the ground.</poem>
 
 
| {{section|Page:Cod.1324 23r.jpg|23r-a}}
 
| {{section|Page:Cod.1324 23r.jpg|23r-a}}
  
 
|-  
 
|-  
| <poem>I have given you my sword in the head,
+
| <p>[36] I have hit you with my sword in the head,<br/>Yours I’ll quickly take with my cunning.</p>
Yours I’ll take with my quick cunning.</poem>
 
 
| {{section|Page:Cod.1324 23r.jpg|23r-c}}
 
| {{section|Page:Cod.1324 23r.jpg|23r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 23v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_23v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 23v.png|300px|center]]
| <poem>I beat your sword aside with the middle of the blade,
+
| <p>[37] I beat your sword aside at the middle of the blade,<br/>You’ll get a good dose from my pommel.</p>
You’ll get a good deal from my pommel.</poem>
 
 
| {{section|Page:Cod.1324 23v.jpg|23v-a}}
 
| {{section|Page:Cod.1324 23v.jpg|23v-a}}
  
 
|-  
 
|-  
| <poem>Turning a roverso you parried badly,
+
| class="noline" | <p>[38] Turning a roverso you parried badly,<ref>The original text is ambiguous as to who is turning the ''roverso''; I believe it is the player who also parries badly.</ref><br/>At the middle of the blade you entered the bind.</p>
Entering into a bind at the middle of the blade</poem>
+
| class="noline" | {{section|Page:Cod.1324 23v.jpg|23v-c}}
| {{section|Page:Cod.1324 23v.jpg|23v-c}}
 
  
 
|}
 
|}
{{hidden end}}
+
{{master end}}
  
{{hidden begin
+
{{master begin
| title     = <span style="font-size:130%;">[[:Category:Pole Weapons|Armored Poleaxe]]</span>
+
| title = Ax in Armor
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;
+
| width = 90em
| bodystyle = display:block; width:76em;
 
 
}}
 
}}
{| class="wikitable floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <poem>Images</poem>
+
! <p>Illustrations</p>
! <poem>{{rating|B}}<br/>by [[Guy Windsor]]</poem>
+
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
! <poem>[[De Arte Gladiatoria Dimicandi (Cod.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</poem>
+
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 24r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_24r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 24r.png|300px|center]]
|  
+
| <p>'''Guards of the pollax in armour'''</p>
'''Guards of the Axe in Armour.'''
+
 
<poem>I am the guard of the woman, of great offence,
+
<p>[1] I am the guard of the woman, of great offence,<br/>To respond to any situation.<ref>The word used here is ‘impresa’, which has the connotation of ''emprise d'armes'', or “feat of arms”.</ref></p>
To respond to any situation.</poem>
+
 
<poem>::I am in the guard of the boar, with its saying,
+
:[2] I am in the guard of the boar, as the saying goes,<br/>I’ll wreck your body for sure.
::I’ll destroy your body for sure.</poem>
+
| {{section|Page:Cod.1324 24r.jpg|24r-t|lbl=24r}}
| {{section|Page:Cod.1324 24r.jpg|24r-t}}
 
 
{{section|Page:Cod.1324 24r.jpg|24r-a}}
 
{{section|Page:Cod.1324 24r.jpg|24r-a}}
 
{{section|Page:Cod.1324 24r.jpg|24r-b}}
 
{{section|Page:Cod.1324 24r.jpg|24r-b}}
  
 
|-  
 
|-  
| <poem>I am called the Archer’s guard,
+
| <p>[3] I am called the archer’s guard,<br/>Always make sure to make every blow deviate. </p>
I always make blows deviate.</poem>
+
 
<poem>::I am the guard of the cross, so called,
+
:[4] I am the guard of the Cross, so called,<br/>No amount of cuts or thrusts can bother me.
::No cuts or thrusts can bother me.</poem>
 
 
| {{section|Page:Cod.1324 24r.jpg|24r-c}}
 
| {{section|Page:Cod.1324 24r.jpg|24r-c}}
 
{{section|Page:Cod.1324 24r.jpg|24r-d}}
 
{{section|Page:Cod.1324 24r.jpg|24r-d}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 24v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_24v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 24v.png|300px|center]]
| <poem>I was in boar’s tooth with the axe,
+
| <p>[5] I was in boar’s tooth with the axe,<br/>Thus I have struck you in the face.</p>
In this way I have struck you in theface.</poem>
 
 
| {{section|Page:Cod.1324 24v.jpg|24v-a}}
 
| {{section|Page:Cod.1324 24v.jpg|24v-a}}
  
 
|-  
 
|-  
| <poem>Lifting the visor I strike your face,
+
| <p>[6] I have lifted the visor from your face,<br/>I have struck you, and taken away every defence from you.</p>
I struck you: all defences are gone.</poem>
 
 
| {{section|Page:Cod.1324 24v.jpg|24v-c}}
 
| {{section|Page:Cod.1324 24v.jpg|24v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 25r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_25r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 25r.png|300px|center]]
| <poem>I place my hand under the right arm
+
| <p>[7] I’ve got my hand under your right arm<br/>I’ll place you in the lock as is written.</p>
I’ll place you in the lock as is written.</poem>
 
 
| {{section|Page:Cod.1324 25r.jpg|25r-a}}
 
| {{section|Page:Cod.1324 25r.jpg|25r-a}}
  
 
|-  
 
|-  
| <poem>This is the grip that I do to you,
+
| class="noline" | <p>[8] This is the grip that I do to you,<br/>You’ll lose your axe and I’ll strike your head.</p>
You’ll lose your axe and I’ll strike your head.</poem>
+
| class="noline" | {{section|Page:Cod.1324 25r.jpg|25r-c}}
| {{section|Page:Cod.1324 25r.jpg|25r-c}}
 
  
 
|}
 
|}
{{hidden end}}
+
{{master end}}
  
{{hidden begin
+
{{master begin
| title     = <span style="font-size:130%;">[[:Category:Armored Fencing|Armored Longsword]]</span>
+
| title = Sword in Armor
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;
+
| width = 90em
| bodystyle = display:block; width:76em;
 
 
}}
 
}}
{| class="wikitable floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <poem>Images</poem>
+
! <p>Illustrations</p>
! <poem>{{rating|B}}<br/>by [[Guy Windsor]]</poem>
+
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
! <poem>[[De Arte Gladiatoria Dimicandi (Cod.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</poem>
+
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 26r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_26r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 26r.png|300px|center]]
|  
+
| <p>'''Guards of the sword in armour'''</p>
'''Guards of the Sword in Armour.'''
+
 
<poem>I am the lower snake guard,
+
<p>[1] I am the lower snake guard,<br/>That is outstanding for striking with thrusts.<ref>“''Che de ferire de ponte son pur pina.''” Rubboli and Cesari transcribe the last word as ''purpina'', which as far as I can find out doesn’t mean anything. If we allow a missing abbreviation on the stem of the second ‘p’, we have ''purpurina'' (''porporino'' in modern Italian), which is a particularly lustrous crimson dye. I think Vadi is using it here metaphorically, to imply that this guard is the ''ne plus ultra'' of guards to thrust from.</ref></p>
That is good for striking with thrusts.</poem>
+
 
<poem>::I am the guard of the serene leopard,
+
:[2] I am the guard of the serene leopard,<br/>That with the tail will give you poison.
::That with the tail will give you poison.</poem>
+
| {{section|Page:Cod.1324 26r.jpg|26r-t|lbl=26r}}
| {{section|Page:Cod.1324 26r.jpg|26r-t}}
 
 
{{section|Page:Cod.1324 26r.jpg|26r-a}}
 
{{section|Page:Cod.1324 26r.jpg|26r-a}}
 
{{section|Page:Cod.1324 26r.jpg|26r-b}}
 
{{section|Page:Cod.1324 26r.jpg|26r-b}}
  
 
|-  
 
|-  
| <poem>I am the snake, held high,
+
| <p>[3] I am the snake, and am held high,<br/>Doing my work high and low.</p>
Above and below I do my work.</poem>
+
 
<poem>::I am the leopard’s tail over the arm,
+
:[4] I am the leopard’s tail over the arm,<br/>I remove and chase every sword away from me.  
::I will chase away any sword from me.</poem>
 
 
| {{section|Page:Cod.1324 26r.jpg|26r-c}}
 
| {{section|Page:Cod.1324 26r.jpg|26r-c}}
 
{{section|Page:Cod.1324 26r.jpg|26r-d}}
 
{{section|Page:Cod.1324 26r.jpg|26r-d}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 26v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_26v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 26v.png|300px|center]]
| <poem>I am the first wounder of the art,
+
| <p>[5] I am the first wounder of the art,<br/>To make defence on any side.</p>
To make defence on any side.</poem>
 
 
| {{section|Page:Cod.1324 26v.jpg|26v-a}}
 
| {{section|Page:Cod.1324 26v.jpg|26v-a}}
  
 
|-  
 
|-  
| <poem>I push my point into your face,
+
| <p>[6] I push my point into your face,<br/>You see my sword rising up and up.</p>
You see my sword rising upand up.</poem>
 
 
| {{section|Page:Cod.1324 26v.jpg|26v-c}}
 
| {{section|Page:Cod.1324 26v.jpg|26v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 27r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_27r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 27r.png|300px|center]]
| <poem>You will let go of your sword in spite of your wishes,
+
| <p>[7] I want you to drop your sword to your chagrin,<br/>I will do even worse to you, because of your failings.</p>
I will do even worse to you too.</poem>
 
 
| {{section|Page:Cod.1324 27r.jpg|27r-a}}
 
| {{section|Page:Cod.1324 27r.jpg|27r-a}}
  
 
|-  
 
|-  
| <poem>If I can’t stick a point in your face,
+
| <p>[8] If I can’t stick a point in your face,<br/>I’ll stick a pommel instead, as it’s right here.</p>
I’ll stick a pommel instead, as it is there.</poem>
 
 
| {{section|Page:Cod.1324 27r.jpg|27r-c}}
 
| {{section|Page:Cod.1324 27r.jpg|27r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 27v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_27v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 27v.png|300px|center]]
| <poem>By the pass I have made out of the way,
+
| <p>[9] By my pass out of the way,<br/>I’ll throw you to the ground with your sword.</p>
I’ll throw you to the ground with your sword.</poem>
 
 
| {{section|Page:Cod.1324 27v.jpg|27v-a}}
 
| {{section|Page:Cod.1324 27v.jpg|27v-a}}
  
|- valign="bottom"
+
|-  
| '''FORM OF THE SWORD IN ARMOUR'''
+
| <p>[10] '''Shape of the sword in armour'''</p>
The sword for fighting in armour should have the form as written below, thus: it should be of a length to come with the pommel under the arm, sharpened four fingers from the point. It’s handle should be of a span. The crossguard should be as long as the handle of the sword. And it should be pointed on every side. And similarly, the pommel should be pointed, so that you can strike with any of these parts.
+
 
 +
<p>The sword for fighting in armour should be shaped as follows, thus: it should be of a length to come with the pommel under the arm, sharpened four fingers from the point. Its handle should be of a span.<ref>A span is the maximum distance you can make between the tip of your little finger and the tip of your thumb on one hand.</ref> The crossguard should be as long as the handle of the sword, and it should be pointed on every side. And similarly, the pommel should be pointed, so that you can strike with any of these [parts].</p>
 
| {{section|Page:Cod.1324 27v.jpg|27v-c}}
 
| {{section|Page:Cod.1324 27v.jpg|27v-c}}
  
 
|}
 
|}
{{hidden end}}
+
{{master end}}
  
{{hidden begin
+
{{master begin
| title     = <span style="font-size:130%;">[[Spear]]</span>
+
| title = Spear
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;
+
| width = 90em
| bodystyle = display:block; width:76em;
 
 
}}
 
}}
{| class="wikitable floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <poem>Images</poem>
+
! <p>Illustrations</p>
! <poem>{{rating|B}}<br/>by [[Guy Windsor]]</poem>
+
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
! <poem>[[De Arte Gladiatoria Dimicandi (Cod.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</poem>
+
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 28r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_28r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 28r.png|300px|center]]
|  
+
| <p>'''Play of the long lance'''</p>
'''Play of the Long Lance'''
+
 
<poem>With a short lance I’ll wait in this way,
+
<p>[1] With the shortened lance I’ll wait in this way,<ref>This section is called ''Gioco de Lanza Longa'', the play of the long lance. In this guard position, the lance is described as ''curta'', short, but it is apparent from the images that the lance itself is of the normal length. So this is an instance of the grip affecting the name of the weapon; the lance is shown held with one hand near the middle. My supposition is that when the lance is held near the end, it is ‘long’, and held near the middle it is ‘short’. This is quite common; we call a quarterstaff a quarterstaff because it is held at one end, and when it is held by the middle it is ‘halfstaff’. Likewise ‘half sword’, when you grip the sword by handle and blade. Hence I have translated this as ‘shortened’, rather than ‘short’. The second lines imply that you can do this however your opponent holds their lance.</ref><br/>I invite you to come with long and short.</p>
I invite you to come with long and short.</poem>
+
| {{section|Page:Cod.1324 28r.jpg|28r-t|lbl=28r}}
| {{section|Page:Cod.1324 28r.jpg|28r-t}}
 
 
{{section|Page:Cod.1324 28r.jpg|28r-a}}
 
{{section|Page:Cod.1324 28r.jpg|28r-a}}
  
 
|-  
 
|-  
| <poem>From the way I wait for you with a spear
+
| <p>[2] From the way I wait for you with a lance<br/>With a half turn I will strike you in the chest.</p>
I can strike you in the chest with a half turn.</poem>
 
 
| {{section|Page:Cod.1324 28r.jpg|28r-c}}
 
| {{section|Page:Cod.1324 28r.jpg|28r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 28v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_28v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 28v.png|300px|center]]
| <poem>By the half turn that I have made to my spear,
+
| <p>[3] By the half turn that my lance has made,<br/>I’ll strike you in the chest or side.</p>
I’ll strike you in the chest or side.</poem>
 
 
| {{section|Page:Cod.1324 28v.jpg|28v-a}}
 
| {{section|Page:Cod.1324 28v.jpg|28v-a}}
  
 
|-  
 
|-  
| <poem>Here end the blows of the spear,
+
| class="noline" | <p>[4] Here end the blows of the lance,<br/>They usually go to this technique.</p>
They usually go to this technique.</poem>
+
| class="noline" | {{section|Page:Cod.1324 28v.jpg|28v-c}}
| {{section|Page:Cod.1324 28v.jpg|28v-c}}
 
  
 
|}
 
|}
{{hidden end}}
+
{{master end}}
  
{{hidden begin
+
{{master begin
| title     = <span style="font-size:130%;">[[Dagger]]</span>
+
| title = Dagger
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;
+
| width = 90em
| bodystyle = display:block; width:76em;
 
 
}}
 
}}
{| class="wikitable floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <poem>Images</poem>
+
! <p>Illustrations</p>
! <poem>{{rating|B}}<br/>by [[Guy Windsor]]</poem>
+
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
! <poem>[[De Arte Gladiatoria Dimicandi (Cod.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</poem>
+
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 29r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_29r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 29r.png|300px|center]]
| <poem>I do this counter to you,
+
| <p>[1] This counter that I do to you,<br/>Is for turning you [with] the grip on your arm.</p>
Turning you with the grip on your arm.</poem>
 
 
| {{section|Page:Cod.1324 29r.jpg|29r-a}}
 
| {{section|Page:Cod.1324 29r.jpg|29r-a}}
  
 
|-  
 
|-  
| <poem>With the hand that you have on my shoulder,
+
| <p>[2] With the hand that you have on my shoulder,<br/>You’ll go to the ground and have an awful time.</p>
You’ll go to the ground in a bad hour.</poem>
 
 
| {{section|Page:Cod.1324 29r.jpg|29r-c}}
 
| {{section|Page:Cod.1324 29r.jpg|29r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 29v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_29v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 29v.png|300px|center]]
| <poem>I can take the dagger and strike you
+
| <p>[3] I can take the dagger from you and strike you<br/>With this grip, and it cannot fail.</p>
With this grip, and I cannot fail.</poem>
 
 
| {{section|Page:Cod.1324 29v.jpg|29v-a}}
 
| {{section|Page:Cod.1324 29v.jpg|29v-a}}
  
 
|-  
 
|-  
| <poem>With the dagger on the ground I’ll make you fall
+
| <p>[4] I’ll make you drop the dagger on the ground<br/>With the turn that I’ll do, and with [my] knowledge.</p>
With the turn that I do, and with my knowledge.</poem>
 
 
| {{section|Page:Cod.1324 29v.jpg|29v-c}}
 
| {{section|Page:Cod.1324 29v.jpg|29v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 30r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_30r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 30r.png|300px|center]]
| <poem>This thrust is done immediately
+
| <p>[5] This thrust is done immediately<br/>I make your dagger fall very fast.</p>
I make your dagger fall very fast.</poem>
 
 
| {{section|Page:Cod.1324 30r.jpg|30r-a}}
 
| {{section|Page:Cod.1324 30r.jpg|30r-a}}
  
 
|-  
 
|-  
| <poem>This thrust that I have placed in your hand,
+
| <p>[6] I have placed this thrust in your hand,<br/>Quickly your dagger will fall.</p>
Quickly you will drop your dagger.</poem>
 
 
| {{section|Page:Cod.1324 30r.jpg|30r-c}}
 
| {{section|Page:Cod.1324 30r.jpg|30r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 30v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_30v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 30v.png|300px|center]]
| <poem>This cover I make very quickly,
+
| <p>[7] I’ll make this cover very quickly,<br/>So you will be placed in the lock.</p>
So you will be placed in the lock.</poem>
 
 
| {{section|Page:Cod.1324 30v.jpg|30v-a}}
 
| {{section|Page:Cod.1324 30v.jpg|30v-a}}
  
 
|-  
 
|-  
| <poem>I will leap to a play using this cover,
+
| <p>[8] I will leap to a play using my cover,<br/>And with my dagger I’ll open the way.</p>
And with my dagger I’ll open the way.</poem>
 
 
| {{section|Page:Cod.1324 30v.jpg|30v-c}}
 
| {{section|Page:Cod.1324 30v.jpg|30v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 31r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_31r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 31r.png|300px|center]]
| <poem>With this cover that you want to do,
+
| <p>[9] By this cover that you want to do,<br/>I’ll make you go into the lower lock.</p>
I’ll make you go into the lower lock.</poem>
 
 
| {{section|Page:Cod.1324 31r.jpg|31r-a}}
 
| {{section|Page:Cod.1324 31r.jpg|31r-a}}
  
 
|-  
 
|-  
| <poem>I can take the dagger or strike,
+
| <p>[10] Thus I can take the dagger from you and also strike,<br/>If I don’t want to completely fail the art.</p>
If I don’t want to completely fail the art.</poem>
 
 
| {{section|Page:Cod.1324 31r.jpg|31r-c}}
 
| {{section|Page:Cod.1324 31r.jpg|31r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 31v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/Fie:Cod.1324_31v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 31v.png|300px|center|link=http://commons.wikimedia.org/wiki/Fie:Cod.1324_31v.jpg]]
| <poem>If I push the dagger towards the ground,
+
| <p>[11] If I push the dagger towards the ground,<br/>You will make no more war against me with it.</p>
You will make no more war with it to me.</poem>
 
 
| {{section|Page:Cod.1324 31v.jpg|31v-a}}
 
| {{section|Page:Cod.1324 31v.jpg|31v-a}}
  
 
|-  
 
|-  
| <poem>Here I look for your hand to strike it
+
| <p>[12] Here I look for your hand to strike it<br/>I’ll make you enter the lower lock.</p>
I’ll make you come under the lock.</poem>
 
 
| {{section|Page:Cod.1324 31v.jpg|31v-c}}
 
| {{section|Page:Cod.1324 31v.jpg|31v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 32r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_32r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 32r.png|300px|center]]
| <poem>This crossing that I make against you
+
| <p>[13] With this crossing that I make against you<br/>I’ll place you in the lock, where you will be frustrated.</p>
I’ll place you in the lock without difficulty.</poem>
 
 
| {{section|Page:Cod.1324 32r.jpg|32r-a}}
 
| {{section|Page:Cod.1324 32r.jpg|32r-a}}
  
 
|-  
 
|-  
| <poem>This strike I make with the fist,
+
| <p>[14] I make this strike with my fist,<br/>I’ll stick your dagger into your body.</p>
I’ll stick your dagger into your body.</poem>
 
 
| {{section|Page:Cod.1324 32r.jpg|32r-c}}
 
| {{section|Page:Cod.1324 32r.jpg|32r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 32v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_32v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 32v.png|300px|center]]
| <poem>I make the cover of one hand,
+
| <p>[15] I make the cover with one hand,<br/>I’ll make your dagger go to the ground.</p>
I make your dagger go to the ground.</poem>
 
 
| {{section|Page:Cod.1324 32v.jpg|32v-a}}
 
| {{section|Page:Cod.1324 32v.jpg|32v-a}}
  
 
|-  
 
|-  
| <poem>From the way I have grabbed you I do not doubt
+
| <p>[16] From the way I have grabbed you I do not doubt<br/>You’ll go to the ground, I mean now!</p>
That you’ll go to the ground, I say immediately!</poem>
 
 
| {{section|Page:Cod.1324 32v.jpg|32v-c}}
 
| {{section|Page:Cod.1324 32v.jpg|32v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 33r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_33r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 33r.png|300px|center]]
| <poem>By the way that I have got you
+
| <p>[17] By the way that I have got you I’m ready<br/>To break your arm and the dagger very quickly.<ref>It is not clear how you would “break the dagger”, but it may mean disarming the opponent, which is easily done after breaking their arm.</ref></p>
I’ll break the arm and the dagger very quickly.</poem>
 
 
| {{section|Page:Cod.1324 33r.jpg|33r-a}}
 
| {{section|Page:Cod.1324 33r.jpg|33r-a}}
  
 
|-  
 
|-  
| <poem>You see well the way that I have you,
+
| <p>[18] You clearly see by the way that I hold you,<br/>That you and your dagger will be my pawn.</p>
So you and your dagger will be my pawn.</poem>
 
 
| {{section|Page:Cod.1324 33r.jpg|33r-c}}
 
| {{section|Page:Cod.1324 33r.jpg|33r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 33v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_33v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 33v.png|300px|center]]
| <poem>I see that this play will not fail me.
+
| <p>[19] I see this play does not fail me.<br/>As I break your arm over my shoulder.</p>
As I break you arm over my shoulder.</poem>
 
 
| {{section|Page:Cod.1324 33v.jpg|33v-a}}
 
| {{section|Page:Cod.1324 33v.jpg|33v-a}}
  
 
|-  
 
|-  
| <poem>Because of this way that the arm is grabbed,
+
| <p>[20] By this way that I want to grab the arm,<br/>I will use your dagger to lock you.</p>
I will lock you with this dagger.</poem>
 
 
| {{section|Page:Cod.1324 33v.jpg|33v-c}}
 
| {{section|Page:Cod.1324 33v.jpg|33v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 34r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_34r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 34r.png|300px|center]]
| <poem>I saw that you are bound and going to the ground,
+
| <p>[21] You saw that you are bound and going to the ground,<br/>break your arm and you will lose the dagger.</p>
I break the arm and you’ll lose the dagger.</poem>
 
 
| {{section|Page:Cod.1324 34r.jpg|34r-a}}
 
| {{section|Page:Cod.1324 34r.jpg|34r-a}}
  
 
|-  
 
|-  
| <poem>In this way I have you,and I make a burden,
+
| <p>[22] In this way I hold [you] and press down,<br/>I can follow with the close and the wide.<ref>This is a reference to ''giocco largo'' and ''giocco stretto''. Vadi means that from here he can do whatever kind of technique he likes.</ref></p>
And I can then follow the close and wide.</poem>
 
 
| {{section|Page:Cod.1324 34r.jpg|34r-c}}
 
| {{section|Page:Cod.1324 34r.jpg|34r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 34v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_34v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 34v.png|300px|center]]
| <poem>I come at you with crossed arms,
+
| <p>[23] I come at you with crossed arms,<br/>And I can do all the previous plays.</p>
And I can do all the previous plays.</poem>
 
 
| {{section|Page:Cod.1324 34v.jpg|34v-a}}
 
| {{section|Page:Cod.1324 34v.jpg|34v-a}}
  
 
|-  
 
|-  
| <poem>You’ll go to the ground by the backhand,
+
| <p>[24] You’ll go to the ground by the backhand,<br/>By this play you will lose your life.</p>
By this play your life is lost.</poem>
 
 
| {{section|Page:Cod.1324 34v.jpg|34v-c}}
 
| {{section|Page:Cod.1324 34v.jpg|34v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 35r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_35r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 35r.png|300px|center]]
| <poem>I say you are badly taught in this art;
+
| <p>[25] I say you are so poorly trained in this art;<br/>You will find yourself suddenly on the ground.</p>
You will find yourself suddenly on the ground.</poem>
 
 
| {{section|Page:Cod.1324 35r.jpg|35r-a}}
 
| {{section|Page:Cod.1324 35r.jpg|35r-a}}
  
 
|-  
 
|-  
| <poem>By this grip I say I have you,
+
| <p>[20] By this grip I say I have you,<br/>I am certain that you will go into the lock.</p>
I am certain you will go into the lock.</poem>
 
 
| {{section|Page:Cod.1324 35r.jpg|35r-c}}
 
| {{section|Page:Cod.1324 35r.jpg|35r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 35v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_35v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 35v.png|300px|center]]
| <poem>I make a lock to this, your elbow;
+
| <p>[27] I press down on this elbow of yours;<br/>I’ll break your arm without a doubt.</p>
I’ll break your arm for you without doubt.</poem>
 
 
| {{section|Page:Cod.1324 35v.jpg|35v-a}}
 
| {{section|Page:Cod.1324 35v.jpg|35v-a}}
  
 
|-  
 
|-  
| <poem>This is a very strong destruction of the arm,
+
| <p>[28] This is a very strong destruction of the arm,<br/>You’ll be unable to bear the pain.</p>
The pain that you’ll have will ruin your composure.</poem>
 
 
| {{section|Page:Cod.1324 35v.jpg|35v-c}}
 
| {{section|Page:Cod.1324 35v.jpg|35v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 36r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_36r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 36r.png|300px|center]]
| <poem>I have put you in the lock, to your despite,
+
| <p>[29] I have put you in the lock in spite of you,<br/>Because you are not so perfect in the Art.</p>
Because you are not perfect in the Art.</poem>
 
 
| {{section|Page:Cod.1324 36r.jpg|36r-a}}
 
| {{section|Page:Cod.1324 36r.jpg|36r-a}}
  
 
|-  
 
|-  
| <poem>With my right hand I have made this move;
+
| <p>[30] With my right hand I have made this move;<br/>I will stick the dagger in your thigh.</p>
I will stick the dagger in your thigh.</poem>
 
 
| {{section|Page:Cod.1324 36r.jpg|36r-c}}
 
| {{section|Page:Cod.1324 36r.jpg|36r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 36v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_36v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 36v.png|300px|center]]
| <poem>When you’re on the ground you’ll say,
+
| <p>[31] When you’re on the ground you will say,<br/>“I didn’t believe it would come to this.</p>
“I didn’t believe it would come to this”.</poem>
 
 
| {{section|Page:Cod.1324 36v.jpg|36v-a}}
 
| {{section|Page:Cod.1324 36v.jpg|36v-a}}
  
 
|-  
 
|-  
| <poem>This is a strong way to throw someone to the ground;
+
| <p>[32] TThis is a way to throw someone to the ground that is quite strong;<br/>If I wish it, you will die.</p>
If I wish it, you will die.</poem>
 
 
| {{section|Page:Cod.1324 36v.jpg|36v-c}}
 
| {{section|Page:Cod.1324 36v.jpg|36v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 37r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_37r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 37r.png|300px|center]]
| <poem>I have you, by the way that I parried;
+
| <p>[33] I have you, in the way that I like;<br/>You will go to the ground against your wishes.</p>
You will go to the ground against your wishes.</poem>
 
 
| {{section|Page:Cod.1324 37r.jpg|37r-a}}
 
| {{section|Page:Cod.1324 37r.jpg|37r-a}}
  
 
|-  
 
|-  
| <poem>You must just go to the ground,
+
| <p>[34] You must simply go to the ground,<br/>And you’ll make no more war with your dagger.</p>
And you’ll make no more war with the dagger.</poem>
 
 
| {{section|Page:Cod.1324 37r.jpg|37r-c}}
 
| {{section|Page:Cod.1324 37r.jpg|37r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 37v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_37v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 37v.png|300px|center]]
| <poem>By the pass that I do under the arm,
+
| <p>[35] By the pass that I do under the arm,<br/>You’ll go to the ground with much trouble.</p>
You’ll go to the ground with much trouble.</poem>
 
 
| {{section|Page:Cod.1324 37v.jpg|37v-a}}
 
| {{section|Page:Cod.1324 37v.jpg|37v-a}}
  
 
|-  
 
|-  
|  
+
| class="noline" |  
'''THE MEASURE OF THE DAGGER'''
+
[36] '''The measure of the dagger'''
  
The length of the dagger should be just to the elbow, with an edge and two corners. The grip should be the length of the fist, as the shape is shown depicted here below.
+
The length of the dagger should reach the elbow, with an edge and two corners. The grip  
| {{section|Page:Cod.1324 37v.jpg|37v-c}}
+
should be the width of the fist,<ref>''Sommesso'' can mean the width of the fist (edge of the hand to edge of the hand), or the width of the fist with the thumb pointing up. (The latter in English is a fistmele.) Given the illustrations, and the common sizes of rondel dagger hilts in the historical record, I’ve gone with the smaller measurement.</ref> as the shape is shown depicted here below.</p>
 +
| class="noline" | {{section|Page:Cod.1324 37v.jpg|37v-c}}
  
 
|}
 
|}
{{hidden end}}
+
{{master end}}
  
{{hidden begin
+
{{master begin
| title     = <span style="font-size:130%;">Miscellaneous Plays</span>
+
| title = Miscellaneous Plays
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;
+
| width = 90em
| bodystyle = display:block; width:76em;
 
 
}}
 
}}
{| class="wikitable floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <poem>Images</poem>
+
! <p>Illustrations</p>
! <poem>{{rating|B}}<br/>by [[Guy Windsor]]</poem>
+
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
! <poem>[[De Arte Gladiatoria Dimicandi (Cod.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</poem>
+
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 38r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_38r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 38r.png|300px|center]]
| <poem>I defend myself just as well as I can,
+
| <p>[1] I defend myself just as much as I can,<br/>As you strike I will charge at you.</p>
As you strike I will overcome you.</poem>
 
 
| {{section|Page:Cod.1324 38r.jpg|38r-a}}
 
| {{section|Page:Cod.1324 38r.jpg|38r-a}}
  
 
|-  
 
|-  
| <poem>As you throw, your blow will be lost;
+
| <p>[2] As you throw, the blow will for naught;<br/>I’ll beat away your weapon with a ''roverso''.</p>
I’ll beat away your weapon with a backhand blow.</poem>
 
 
| {{section|Page:Cod.1324 38r.jpg|38r-c}}
 
| {{section|Page:Cod.1324 38r.jpg|38r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 38v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_38v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 38v.png|300px|center]]
| <poem>I am in guard with a good forehand blow,
+
| <p>[3] I am in guard with a good ''mandritto'',<br/>As you throw at me you’ll understand the text.</p>
As you throw at me you’ll understand the text.</poem>
 
 
| {{section|Page:Cod.1324 38v.jpg|38v-a}}
 
| {{section|Page:Cod.1324 38v.jpg|38v-a}}
  
|- valign="bottom"
+
|-  
| Following the work are some dagger techniques as follows. You must consider the act, the grip, the principle and the finish to understand the way. Knowing how cunning human nature is, and for everyone who is practiced in the art can understand all the actions depicted and shown in this, my little work, mainly of the sword, the axe, the spear and the dagger.
+
| <p>[4] Continuing the work, some dagger techniques will follow. It is necessary to consider the act, the grip, the start and the finish in order to understand the way. Knowing how clever human nature is, everyone who is practiced in the art can understand all the actions depicted and shown in this, my little work, first of the sword, the axe, the spear and the dagger.</p>
 
| {{section|Page:Cod.1324 38v.jpg|38v-c}}
 
| {{section|Page:Cod.1324 38v.jpg|38v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 39r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_39r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 39r.png|300px|center]]
|  
+
| <p>[5] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 39r.jpg|39r-a}}
 
| {{section|Page:Cod.1324 39r.jpg|39r-a}}
  
 
|-  
 
|-  
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| <p>[6] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 39r.jpg|39r-c}}
 
| {{section|Page:Cod.1324 39r.jpg|39r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 39v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_39v.jpg]]
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| rowspan="2" | [[File:Cod.1324 39v.png|300px|center]]
|  
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| <p>[7] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 39v.jpg|39v-a}}
 
| {{section|Page:Cod.1324 39v.jpg|39v-a}}
  
 
|-  
 
|-  
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| <p>[8] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 39v.jpg|39v-c}}
 
| {{section|Page:Cod.1324 39v.jpg|39v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 40r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_40r.jpg]]
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| rowspan="2" | [[File:Cod.1324 40r.png|300px|center]]
|  
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| <p>[9] Dagger technique.</p>
Dagger technique
 
 
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| {{section|Page:Cod.1324 40r.jpg|40r-a}}
  
 
|-  
 
|-  
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| <p>[10] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 40r.jpg|40r-c}}
 
| {{section|Page:Cod.1324 40r.jpg|40r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 40v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_40v.jpg]]
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| rowspan="2" | [[File:Cod.1324 40v.png|300px|center]]
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| <p>[11] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 40v.jpg|40v-a}}
 
| {{section|Page:Cod.1324 40v.jpg|40v-a}}
  
 
|-  
 
|-  
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| <p>[12] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 40v.jpg|40v-c}}
 
| {{section|Page:Cod.1324 40v.jpg|40v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 41r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_41r.jpg]]
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| rowspan="2" | [[File:Cod.1324 41r.png|300px|center]]
|  
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| <p>[13] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 41r.jpg|41r-a}}
 
| {{section|Page:Cod.1324 41r.jpg|41r-a}}
  
 
|-  
 
|-  
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| <p>[14] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 41r.jpg|41r-c}}
 
| {{section|Page:Cod.1324 41r.jpg|41r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 41v.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_41v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 41v.png|300px|center]]
|  
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| <p>[15] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 41v.jpg|41v-a}}
 
| {{section|Page:Cod.1324 41v.jpg|41v-a}}
  
 
|-  
 
|-  
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| <p>[16] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 41v.jpg|41v-c}}
 
| {{section|Page:Cod.1324 41v.jpg|41v-c}}
  
 
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|-  
| rowspan="2" | [[File:Cod.1324 42r.jpg|300x300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_42r.jpg]]
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| rowspan="2" | [[File:Cod.1324 42r.png|300px|center]]
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| <p>[17] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 42r.jpg|42r-a}}
 
| {{section|Page:Cod.1324 42r.jpg|42r-a}}
  
 
|-  
 
|-  
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| <p>[18] End of technique.</p>
End of the technique
 
 
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| {{section|Page:Cod.1324 42r.jpg|42r-c}}
  
 
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| rowspan="2" | [[File:Cod.1324 42v.png|300px|center]]
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| <p>[19] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 42v.jpg|42v-a}}
 
| {{section|Page:Cod.1324 42v.jpg|42v-a}}
  
 
|-  
 
|-  
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| class="noline" | <p>[20] End of technique.</p>
End of the technique
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| work        = Illustrations
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| authors    = [[Biblioteca Nazionale Centrale di Roma]]
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| source link = http://digitale.bnc.roma.sbn.it/tecadigitale/manoscrittoantico/BNCR_Ms_VE_1324/BNCR_Ms_VE_1324/1
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| source title= Biblioteca Digitale
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| license    = noncommercial
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| work        = Translation
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| authors    = [[translator::Guy Windsor]]
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| source link = http://www.scribd.com/doc/141095594/De-Arte-Gladiatoria-translation
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| source title= The School of European Swordsmanship
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| license    = attribution
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| work        = Transcription
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| authors    = [[Marco Rubboli]] and [[Luca Cesari]]
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| source title= [[Index:De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)]]
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== Additional Resources ==
 
== Additional Resources ==
  
* '''Vadi, Filippo'''. ''Arte Gladiatoria Dimicandi: 15th Century Swordsmanship of Master Filippo Vadi''. Trans. Luca Porzio and Gregory Mele. Union City, CA: [[Chivalry Bookshelf]], 2002. ISBN 1-891448-18-8
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{{bibliography}}
* '''Vadi, Filippo'''; [[Marco Rubboli|Rubboli, Marco]]; and [[Luca Cesari|Cesari, Luca]]. ''L'arte Cavalleresca del Combattimento''. Rome: [[Il Cerchio Iniziative Editoriali]], 2005. ISBN 88-8474-079-7
 
  
 
== References ==
 
== References ==
  
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Latest revision as of 19:59, 26 January 2024

Philippo di Vadi Pisano
Born 1425
Pisa, Italy
Died 1501
Urbino, Italy (?)
Occupation Fencing master
Nationality Pisa, Italy
Ethnicity Ligurian
Citizenship Pisan
Patron Guidobaldo da Montefeltro
Influences Fiore de'i Liberi
Genres Fencing manual
Language
Notable work(s) De Arte Gladiatoria Dimicandi
Manuscript(s)
First printed
english edition
Porzio and Mele, 2002
Translations

Philippo di Vadi Pisano was a 15th century Italian fencing master. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.[1] Some time after this, Vadi composed a treatise on fencing entitled De Arte Gladiatoria Dimicandi ("On the Art of Swordsmanship"), which currently exists in at least two manuscript copies. It was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,[2] and gifted to him between 1482 and 1487,[3] but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.

Vadi was probably an initiate of the tradition of Fiore de’i Liberi, as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise Fior di Battaglia, Vadi would have had ample opportunity to study his writings.

Treatise

Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "Interesting information on the Vadi family (Philippo Vadi)". HEMA Alliance Forum. 06 June 2012. Retrieved 09 October 2012.
  2. Vadi, Philippo di. De Arte Gladiatoria Dimicandi [manuscript]. MS Vitt. Em. 1324. Rome, Italy: Biblioteca Nazionale Centrale di Roma, 1480s.
  3. Rubboli, Marco and Cesari, Luca. The Knightly Art of Combat of Filippo Vadi. Document circulated online.
  4. The translation of these lines was kindly done by Alan Cross, personal correspondence, 28 September 2016.
  5. The title that the manuscript is known by comes from this line of the book: de arte gladiatoria dimicandi. Dimicare means to fight in earnest against your enemies; l’arte gladiatoria is the art of fencing. Together, the sense is “the art of fencing in earnest against your enemies”, as opposed to fencing for fun, exercise or display.
  6. I am indebted to both Prof Alessandra Petrina and Tom Leoni for their suggestions on improving this section.
  7. The word here is ‘sacomani’ (more commonly saccomani), a kind of man at arms who follows the army looking for spoils. I think ‘scavenger’ would not be inaccurate, but clearly Vadi is laying out a hierarchy of martial prowess, with kings at the top, barons in the middle, and men at arms near the bottom. Saccomani is the lowest class of men worthy to learn the art, and so elevated above what comes to mind when we think ‘scavenger’. I’ve used the generic ‘soldier’ here. It is not a normal translation of this term, but it fits this hierarchy better.
  8. I, and Mele and Porzio before me (on page 41), were confounded by the page break between this line and the next. E mostrallo con breve eloquenza./La geometria che divide e parte. F3v, f4r. I am indebted to Prof Petrina for pointing out that Geometry, not the author, is the subject of the sentence. I mention this particularly because I know that many readers will trace the translation line by line, comparing it to a transcription or the scans of the ms, and may wonder why Geometry is apparently on the wrong line! It serves to illustrate the differences between the two languages, and as a reminder that similar changes to word order can be expected throughout.
  9. Note that on folio 28r where he gives the form of the sword to be used in armour, the crossguard is as long as the handle alone, not handle and pommel together. The images tend to suggest this latter arrangement.
  10. This could refer to the blade, but most practitioners believe it refers to the crossguard itself, which can indeed be sharpened for striking with, as we see in the section on combat with the sword in armour. The word is ‘ferruza’; ‘ferruzo’ means ‘a little piece of iron’, so the implication is that this would refer to the crossguard.
  11. si tu averai nel cervel tuo sale, lit. “if you have salt in your brain”.
  12. Passi o torni, lit. “pass or return.” It’s clear from the context that this means forwards or backwards. Also, on f22r of the Getty ms, Fiore describes the three turns and four steps which make up the footwork of his system. By pairing accrescere and discrescere, passare and torrnare, it’s clear that ‘passare’ is a pass forward and ‘tornare’ is a pass backward. See also f19r where ‘tornare’ is used and the fencing context makes it absolutely clear that it refers to passing back with the front foot.
  13. This is very obscure in the Italian. Prof. Petrina suggests: “Imbratar carte” means write a lot with little effect – it is usually said of a bad poet. So – he who wishes to oppose his own art to everybody else’s is writing a lot to no effect?” Alessandra Petrina, personal correspondence, 23rd March 2018.
  14. This number is written out (quarto), and does not have a roman numeral in the ms, so I have written it out here.
  15. The image here is of a formal duel, in which the duellists are given their choice of weapons. This indicates a specific context for this art to work in.
  16. Advantage of the sword is presumably length, especially in a duelling context.
  17. Lit. “You will make everyone scratch their own mange”
  18. This is a poetic image, which conveys the defeat of the ignorant by the knowledgeable.
  19. Che l’aer nostro fa spesso serena, lit. “that often makes our skies serene”.
  20. This line reads “io metterò la punta spesso a l’archo”. “I will place the thrust” is clear. Spesso a l’archo is literally “often at a bow”. But just as bistecca alla fiorentina is steak in the manner of Florence, so a l’archo can be read as “in the manner of an arc”, or possibly “in the manner of a bow”. I will discuss this further in the commentary.
  21. This means the fendente strike us. In this last stanza, rota blows are defeating volante blows; they are parrying them and returning with a fendente to the face.
  22. As I understand it, this means that the quick turn of the cut beats the thrust out of the way, ‘making room’ for you.
  23. That is, in theory and in practice.
  24. I read this to mean that when cutting, your point should remain in line (in the strada), unless you deliberately allow it to fall, to parry up from below.
  25. Tempi here is clearly ‘motions’, rather than ‘times’.
  26. This line is ambiguous; it could also read “And when a weapon finds me extended”.
  27. The word Vadi uses here is ‘inprexa’. It is the same word as the French ‘emprise’, which was commonly used in the fifteenth century to denote a feat of arms in which a knight travelled from place to place, fighting other knights in the lists, to gain renown. It was also commonly used to denote a military campaign.
  28. This is the point at which terza rima gives way to rhyming couplets. At this stage in the manuscript, the division of the text is not simple. This chapter begins with terza rima, then shifts into couplets, which are not in sync with the quatrains denoted by coloured capitals. The capitals seem to divide the text by sense: one on the stramazzone; one on the roverso, and so on. The reader should be aware that this does not accord with the rhyme scheme.
  29. At this point there menando, (“bringing”) is written vertically as a catchword (the first word on the first sheet of the next quire, an aid to the bookbinder).
  30. A slow and serene hand: this is one of the more counter-intuitive instructions; why would you want slow, calm motions in a sword fight? In practice, smooth, calm motions are the hallmark of a master.
  31. This is the first appearance of stramazone in this text, and I believe in all fencing literature, and it’s described in the line that follows in similar terms to subsequent authors, such as Capoferro: “The stramazzone is a wheel-like cut delivered from the wrist.” (Leoni 2011, 27.)
  32. Largo tempo, literally “wide time”; another case in which ‘tempo’ is clearly used to mean a movement. ‘Largo’ here is wide or broad.
  33. Tempo here is clearly used in the sense of “opportunity to strike”. “Seize the time” might also work as a translation.
  34. punto divixo: lit. “point divided”. Rodolfo Tanara pointed out (in private correspondence 5 February 2017) that “in Tuscany [it] is a regionalism to say poco e punto to say “a few and not at all”. So punto could be intended as affatto that is “not at all”; since Philippo Vadi was from Pisa, he could actually have intended that meaning. So in this phrase, the general advice he gives us is to stay close to the companion, “not divided at all”, obviously this favours half-sword measure.”
  35. This is indicating a vertical downwards blow.
  36. This line actually reads “Because it is closer to it”; I have expanded on it for clarity.
  37. There appears to be a correction to the text: pigliare (to grab) has been modified to pighare (to bend). Rubboli has it as the former. (51)
  38. This detailed explanation of mechanics, with the head being “connected” (atacata) to the weighted foot (the one with the bent knee) is unprecedented in fencing literature.
  39. The word used is ‘visteggi’; in the next chapter, “Ragion de viste di spada”, he uses it again. From the context, he is clearly using the word to mean ‘feint’. The only other place I have encountered this word with the same meaning is in Giganti, Nicoletto, p.23 – in the chapter heading: Della finta dichiaratione (“Explanation of the feints”), which is subtitled Far vista di cavar la Spada con il nodo della mano. (“Make a feint of disengaging the sword with the wrist.”)
  40. The sense here is that there are so many possible actions to be done from here that it is impossible to list them all.
  41. “It” in this case refers to his sword: the opponent is parrying your feint of a false edge blow. Avoid the parry and strike a roverso from below.
  42. Mustaccio is a slang word for face (Italian for moustache is baffo), but I hope the reader will forgive me taking advantage of a false friend to create a more memorable image.
  43. The line “voltandoli atraverso” is inserted in the margin.
  44. Porzio and Mele (81) read this line as mal separa chi non na la praticha, or “he who lacks practice does not divide well”. Rubboli and Cesari (57) also transcribe separa as one word. I read it as mal se para, or “will get into trouble”, which seems to me to fit the context better.
  45. Vadi uses the term ‘gonfalone’, which brings to mind the highest military honour the Pope could bestow (recalling that Urbino was one of the Papal states), that of gonfaloniere, “standard bearer”, an equivalent rank perhaps to Marshal of France in that there was only ever one gonfaloniere at a time. Guidobaldo’s father Federico was gonfaloniere from 1462 to 1468 under Pope Pius II, and again from 1474 to 1482 under Sixtus IV. Guidobaldo did indeed make it to that rank like his father before him, from 1504 until his death in 1508, under Julius II. (This has been called into question by Clough.) It’s hard to imagine that Vadi would have been unaware of the reference, and he probably meant this to encourage the young Duke to reach the heights that his father had.
  46. The verb used here is ‘scharpando’, the gerund form of the vulgar scharpare, from Latin discerpere – Italian dilaniare. It means to tear apart, rip apart, to shred. (Rodolfo Tanara, private correspondence, 3 February 2017.) Incidentally, by ripping up from below, you beat aside the opponent’s sword and your blade does end up behind theirs, as recommended in the previous quatrain.
  47. This line reads “Piglia questo, che un tracto di stadera”. A steelyard is a weighing scale, with arms of unequal length. It is hung from a hook, with the item to be weighed hung from the short arm, and the counterweight hung from the longer arm, and slid along until the scale balances. The position of the counterweight on the longer arm tells you the weight of the item. ‘Tracto’ here probably refers to the gradations on the steelyard. The image is perhaps one of rapid movement, a passing instant. I am indebted to Rodolfo Tanara who suggested this reading. Personal conversation, 3 February 2017.
  48. This is a very specific reference, but one that makes no sense. The thirteenth play of the sword is on f20v. This would be page 40 of the ms. The seventh page starting from the beginning of the sword section (the page with Vadi’s portrait on, 16r), is 19r. If we count each ‘carta’ in the way we count folia, then we get to 22r (counting from 16r), or 21r counting from the beginning of the illustrated section (15r). For the purposes of reconstructing this action, I use the thirteenth play of the sword, and disregard the page reference.
  49. Sinestre is literally “left-handed ones”. This is the antonym of ‘dextrous’. Clumsy is the intended meaning.
  50. This means that the tempo is measured by dividing it into parts.
  51. These keys (the Keys of St Peter) appear both on the coin struck for Philippo Vadi, as noted in the introduction, and on the seal of the Duke of Urbino where they symbolise Guidobaldo’s father Federico’s status as Gonfalioniere della Chiesa.
  52. This line has some text missing. Rubboli and Cesari render it: “C[he-testo abraso-] luj s’aspetta vergogna e l’onore.”
  53. Erased.
  54. I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.
  55. ‘It’ here refers to the guard, so having struck, you recover into this position.
  56. I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.
  57. Con la spada curta, lit. “with the short sword”. This probably refers to the sword being withdrawn, rather than using a different, shorter weapon. Cf note 91 on page XXX re the lanza curta.
  58. Per forza literally means “by force”, but is usually used in the sense of being obliged, or being constrained by fate. Because Vadi states that this is done “without difficulty”, I’ve gone with the less literal translation.
  59. Though the Hail Mary prayer is quite long, the expression means “in a jiffy”. If you’re running late, you might say (in Italian) “I’ll be there before you can say a Hail Mary”, which is equivalent to “I’ll be there before you know it”.
  60. Per questa fiada – this expression implies “just this once”; so, “I could kill you, but just this once, I’ll disarm you instead.”
  61. Mele and Porzio (117) and Rubboli and Cesari (66) have both transcribed the last word of the first line as fora, which would be “outside”. Fora does not rhyme with botta, and the play is illustrated on the inside, not the outside, so I am confident that this is an error. I read this couplet as “Questa e una presa ch’io facio de sota/Chascar te la faro a prima botta.
  62. ‘Above’ here is relative to the opponent’s sword arm. This is in contrast to, for example, the grip held “from below” on f21v.
  63. The original text is ambiguous as to who is turning the roverso; I believe it is the player who also parries badly.
  64. The word used here is ‘impresa’, which has the connotation of emprise d'armes, or “feat of arms”.
  65. Che de ferire de ponte son pur pina.” Rubboli and Cesari transcribe the last word as purpina, which as far as I can find out doesn’t mean anything. If we allow a missing abbreviation on the stem of the second ‘p’, we have purpurina (porporino in modern Italian), which is a particularly lustrous crimson dye. I think Vadi is using it here metaphorically, to imply that this guard is the ne plus ultra of guards to thrust from.
  66. A span is the maximum distance you can make between the tip of your little finger and the tip of your thumb on one hand.
  67. This section is called Gioco de Lanza Longa, the play of the long lance. In this guard position, the lance is described as curta, short, but it is apparent from the images that the lance itself is of the normal length. So this is an instance of the grip affecting the name of the weapon; the lance is shown held with one hand near the middle. My supposition is that when the lance is held near the end, it is ‘long’, and held near the middle it is ‘short’. This is quite common; we call a quarterstaff a quarterstaff because it is held at one end, and when it is held by the middle it is ‘halfstaff’. Likewise ‘half sword’, when you grip the sword by handle and blade. Hence I have translated this as ‘shortened’, rather than ‘short’. The second lines imply that you can do this however your opponent holds their lance.
  68. It is not clear how you would “break the dagger”, but it may mean disarming the opponent, which is easily done after breaking their arm.
  69. This is a reference to giocco largo and giocco stretto. Vadi means that from here he can do whatever kind of technique he likes.
  70. Sommesso can mean the width of the fist (edge of the hand to edge of the hand), or the width of the fist with the thumb pointing up. (The latter in English is a fistmele.) Given the illustrations, and the common sizes of rondel dagger hilts in the historical record, I’ve gone with the smaller measurement.